Folk creativity of the Chuvash. Chuvash Folklore: Cultural - Educational Aspects
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Introduction
1. History of the Chuvash people
1.1 Epoch bronze
1.2 Origin of Chuvash
1.3 Chuvashi as part of the Russian state
1.4 Formation of statehood
2. Oral creativity of the Chuvash people
2.1 National embroidery
2.2 Music
2.3 wood carving
2.4 Folklore
Conclusion
Literature
Introduction
The first people within the modern Chuvashi appeared ok. 80 thousand years ago, in the Mikulin intergreic period: on the territory of Chuvashia, the Uzzlinskaya parking of this time is open. At the end of the late Paleolith, people moved to the generic system - matriarchal communities. In the era of neolithic (4--3 thousand to n. E.) The average Volga region occupied the Finno-Ugric tribes - the ancestors of Mari and mordovian peoples. In the Chuvashia, the Mesolithic parking was opened along the rivers (13-5 thousand BC) and Neolithic.
1. History of the Chuvash people
1.1 Epoch bronze
Shift B. public Development There was a bronze era - 2 thousand BC. e. The cattle breeding and agriculture spread, there was a transition to the father's family - Patriarchate. On the Middle Volga region in the environment. The Finno-Ugric population is the islets began to live from the south of the Indo-European tribes of Fatyanovskaya and Balanovsky archaeological crops, then the tribes of Abashevtsev and Iranian-speaking sterns, who knew the hute agriculture, cattle breeding and bronze technology. In the era of early iron (1 thousand BC), the decomposition of the primitive system began in the middle voltage of the Finno-Ugric tribes of the Ananin and Gorodetskaya cultures, reinforced settlements have emerged. At the end of 1 thousand to n. e. - 1 thousand n. e. Pianobor and Lategorodinsky Finno-Ugric tribes, engaged in hunting, fishing, cattle breeding and agriculture, sometimes united in the unions of tribes with the features of military democracy, their gradually increased property inequality.
1.2 Origin of Chuvash
There are several hypotheses of the origin of the crude. Most scientists adhere to the following theory. Turkic-speaking ancestors of the Chuvash in ancient times lived in Central Asia, in 1 thousand to n. e. A western wing in the communion of tribes Hunnu. They were nomads with nomads started to join agricultural work. For the first time in written sources under the names of Bulgaria and Suvav, they were recorded in 4--3 centuries. BC e. (North-West India, at the foot and in the mountains of the present, modern Hindukush. The ancestors of Bulgar and Suvava in ancient times were adjacent to the oldest oriental civilizations).
At the beginning of the new era, they began to move to the West in the seven-year and steppes of the current Kazakhstan, reaching 2--3 centuries. n. e. North Caucasus. The centuries-old communication of the ancestors of the Chuvash with Iranian-speaking Skifs, Sakami, Sarmatians and Alans - the heirs of the ancient Indoran civilization, including Sumerian, enriched the culture of Bulgaria and Suvav - their economic classes, life, religion (zoroastric), clothes, hats, decorations, ornament.
In the 30--60-kh. VII century In the Black Sea region existed state Education Great Bulgaria, but under the blow of the Khazaria, it broke up. In the 70s Silver (Nukhrat) Bulgarians moved to the Volga-Kamie. Suwars on the territory of modern Dagestan had their principality, which from the 60s. 7th century Up to the 30s. 8 in. Depending on the Khazar kaganate. After the invasion of 732--37. On their lands of Arabs Suwara switched to the middle Volga region and settled south of Bulgarians. In the VIII century On the Middle Volga region, the Bulgarian Union of the tribes arose, where Suwara and local Finno-Ugric tribes were included under the primacy of Bulgaria. At the end of the IX century. The union develops into the Volga Bulgaria, which occupied the extensive territories of the Middle Volga region from Samara Luke in the south to r. Vyatka in the north, from the middle chamber in the east to r. Suras in the West. The main business exercises in the Volga Bulgaria became arable farming and animal husbandry, hunting, fisheries, Bortnomy. Cities arose: Bulgarian (capital in the X - XI century), Bilac (the capital in the XII - early XIII century), Suvav, Oshl, Noahrat. Crafts developed, internal and transit trade. In Volzhskoy Bulgaria, attention was paid to the development of science and education, the state language was Bulgarian.
In X - Nach. XIII century In the process of combining the Bulgarian and Suvorsky tribes that spoken in "Rotatizm" (use in contrast to others turkic languages, "P", instead of "s"), and the assimilation of their part of the Finno-Ugric population formed a new Bulgarian (Old Chuvash) nationality.
In 1236, Volga Bulgaria was ruined by Tatars (Mongol-Tatars) under the leadership of Khan Batu (Batya). The territory of the Middle Volga is included in Golden Horde like a Bulgarian ulus. The local population before the invasion of Tatars professed Islam. The population was constantly violent, physical destruction. At 13th. 15 V. Died ok. 80% of the inhabitants of the Volga Bulgaria. Part of the people moved to the orders, order, as well as to the central and northern regions of the modern territory of Chuvashia. In 1438, Kazan Khanate was distinguished from the Golden Horde, as part of which, in addition to the Tatars, the ancestors of the Chuvash, Mari, part of the Morder, Udmurts and Bashkir were the ancestors. Among the population, formatically spread Islam.
On the territory of modern Chuvashia, as well as in the Provisan-Zakazansky district, in the Chuvash Daruga, as a result of re-mixing Bulgaro-Chuvash with Mariers to Con. 15 V. The modern Chuvash people, which preserved the Bulgarian language and culture was formed. The basis of the nation was Bulgaro Chuvashi.
1.3 Chuvashi as part of the Russian state
Chuvasi have repeatedly opposed the Move of Kazan Khan and Tatar feudalists. Their leaders, according to legends and written sources, were Kochak, Peig, Anchik, Sari-Batyr, Tugai, Amak, etc. in con. 1546 Resty Chuvashi and mountain Mariers. The Russian troops called for help. In the summer of 1551, during the foundation of Muscovites of Sviyazhsk, the crude mountain side was to join the Russian state (see the accession of Chuvashia to Russia).
After falling in 1552 Kazan and the suppression of the anti-mosmokov rebellion of 1552--57 in the citizenship of Moscow, both Chuvas living on the meadow side were passed. Entering the composition of Russia, Chuvashi got rid of Islamic-Tatar assimilation, retained themselves as a nationality. In Chuvashia, the cities-Fortress of Cheboksary were built (the first mention in the annals in 1469 was built, founded as a fortress city in 1555), Alatyr, Civilisk, Nadrine, who soon became trade and craft centers. In the 2nd floor. 16-17 centuries. South settled. and South-Zap. Parts of Chuvashia, abandoned in 14 - Nach. 15 centuries due to robber attacks of Tatars Nogai. In Chuvashia, they received the spread of land tenure Rus. shine. and perfume. Feudalov (in Ser. 18 c. In the region, more than 200 landlords, 8 monasters were listed. possessions), grew numbers. Russians (in 1795 they accounted for 19.2% of the total population). Center for consolidation and growth Chuvash. Nathodius became a right-bank. oblast resettlement. In 16--17 centuries. significant. Part of the crude ordance and ordering moved to the bottom. Zakamye and Bashkaria, the other part is in Right Bank. Chuvashiya, and the remaining in the place of Chuvashi merged with Tatars. In the 2nd floor. 16-17 centuries. Rover. Chuvashi settled the south-east. Part of Chuvashia, in 17--18 centuries. Moved to the bottom. Zakamye, Bashkiria, Simbir., Samar., Penza., Saratov., Orenburg. the edges. In 1795 out of 352.0 thousand. All the crown in Russia on the terr. The future Chuvashia lived 234.0 thousand (66.5%), and beyond its limits - 118.0 thousand people.
Chuvashia has become a region of relatively high agriculture. Culture. OSN. Students. Public classes - Pashen. farming, animal husbandry, crowning, beekeeping. Fields of wood processing, leather, wool, fiber, etc. have been largely distributed in order to curb the manufacture of weapons used in Nar. Movements, CAR. Right-in the beginning. 17th century Forbidden Chuvasham and others. Volga. People are engaged in black and silver business (up to 19 centuries). In the 2nd floor. 17th century In the cities of Chuvashia, Kozhevoy emerged., Dobineen., Salotopen. et al. Rus. merchants. To gray. 19th century In Chuvashia, there were approx. 150 bricks, mednolites., Spinned., Silkovoy and others. Small preds. In the 18th - 1st floor. 19th century Up to 15 leader leather, Sukon acted in the region. And others. Manufactory, there were glasses. and Sukon. F-ki.
Chuvash. The peasants paid in the king. treasury money. And bread. Yasak, carried labor duties, supplied to Rus. Army one warrior with 3 yasakov (from 6 yards). In the 20s 18 V. They were included in the category of state peasants, Yasak is replaced by a submachine and the lifting, the sizes of the first in 18-- 1st floor. 19th century systematically grew. Chuvash. The peasants were exploited by Rus. And Tatars. merchants and realmists, their own. Patriarchal feud. The layer is Puyans and Katany. In the 17th century Chuvash. District. Princes, hundredth and tenth princes and Tarkhans gradually lowered, in 1718--23, together with servilative chuvas, by the decree of Peter I, they were equalized with the state. Peasants are attributed to the fulfillment of Lashman. Meal. In the 1830s. OK. 100 thousand Chuvash. The peasants were transferred to the department's department - became the fortress Tsar. surnames. Chuvashi was called on military. Service in Rus. The army, participated in Livon. War (1558-83), the fight against the Polish-Swede. Intervention (1611-14), Polish campaigns, Russian-Turkish wars in 18 V. In the fatherland War 1812 thousands of the crude selflessly fought against Napoleon. Halching.
In the middle of the XVIII century. Chuvish exposed Christianization, but to the 70s. 19th century Their baptism was formal, sermons were conducted on Staroslavl. and rus. Languages \u200b\u200band were incomprehensible to Chuvasham. In fact, they remained adherents of the prechristian. faith.
In the XVI - XVII centuries. The territory of Chuvashi was managed by the order of the Kazan Palace, in the beginning. XVIII century Included in the Kazan and Nizhny Novgorod province, according to administrative reform, 1775 entered the Kazan and Symbirsk province. Operation, arbitrariness and increasingness of officials, the violent plant of Orthodoxy led to the resistance of the population. Chuvashi participated in all major speeches of the masses affecting the average Volga region in the XVI - XIX centuries: in 1571-1573, at the beginning of the XVII century, in 1634, the peasant uprisings of S. T. Razin and E. and . Pugacheva. In 1842, an armed uprising of the Chuvash and Mari peasants occurred (t. Akramovsky war) against reforms P. D. Kiseleva State Management of the State. Peasants, up to 10 thousand people participated in the uprising.
In the XIX century, especially after the abolition of the fastener. Rights, in Chuvashia, capitalist relations are developing, there is a social bundle of the village, the small trade and prom is distinguished. bourgeoisie. However compared to central areas Russia, this process was much slower, with the predominance of primary forms of the cap. Entrepreneurship. By the time of the cancellation of the serfdom, the Industry of the Chuvash Territory was represented by two cloth and three distillery plants, which, with the exception of one cloth factory, belonged to landowners. In addition to them, small hidden, glass, silk-and-living manufactory were acted. At the end of the XIX - early XX century. There were up to three dozen factories and factories, a few proletariat took shape: in industry and transport was employed. 6 thousand people
In 1878, the first joint-stock company "ATO ATHORSKIY START AND WATER MILLS". In the forest industry and sawmills at the end of the XIX century. In seasonal work, tens of thousands of people were occupied annually. From the 80s. XIX century The factory sawmill is developing, to gray. 90s. XIX century We worked 6 sawmill plants. More than 8% of the male worm-bodied population of the region was occupied on the exhaust fisheries.
The transport network developed. The shipping society "Druzhina" in 1860 in the Zvenigovsky Zabeon of Cheboksary County founded a mechanical plant for the construction and repair of ships. Cheboksary Pier in the 1860s. Released goods more than 28,000 tons, and at the beginning of the XX century. -- OK. 16 700 t. From 1878, the "unexpected" paragas starts to fly Alatyr-Vasilsursk. In 1891--1894 The construction of the railway line Alatyr - Shhrana (Kanash) - Kazan of Moscow-Kazan railway. Along it, enterprises on woodworking, which with end XIX. in. Fixed Osn. Industry industry Chuvash Territory. In 1894, Alatyraine railway workshops come into line, which became the largest enterprise of the region.
The absolute majority of the population of Chuvashia (approx. 96%) lived in rural areas. His number increased from 436 thousand in 1859 to 660 thousand in 1897. In the pureforming period, agriculture gradually acquires the traits of capitalist economy. In 1905, the treasury and the lot belonged 36.4% of the land, landowners and clergy - 5.4%, merchants and breasts - 1%, to the peasants-community - 54%, to the peasants of owners - 2.7%, Other - 0.5%. The fallen peasant land was at the disposal rural communitythat slowed down the development of capitalist relations. The results of the Stolypin agrarian reform were insignificant in Chuvashia.
At the turn of 19--20 centuries. in nar. Social democratic ideas penetrate the masses. Revolutionary unrest 1905--1907 and the next decade noted by performances of workers and peasants against autocracy, the abolition of arrears and indirect taxes, against the implementation of the Stolypin agrarian reform. A movement for the national lift is born, the national self-consciousness of the people is growing. This was facilitated by the first Chuvash newspaper "Khapar" ("News"), which was published in 1906-1907.
During the First World War, the peasantry experienced great difficulties. The farms whose heads were mobilized, ruined. Grew dissatisfaction with the war. In the fall of 1916, anti-war performances began.
After the February coup in the cities and some mosses of Chuvashia, together with the provisional bodies, advice are organized, the majority of which were headed by the esters and Mensheviks. In June 1917, the Chuvash National Society (CNO), who supported the Provisional Government, was established in Simbirsk at the generalwash congress. The chapter consisted of the integers. Another wing of the national movement has not been completed organizational structure And it was mainly represented by national organizations of soldiers and sailors at the place of service who held the Bolshevik views. These two directions were separated after the October coup and during the civil war.
1.4 Formation of statehood
On June 24, 1920, the Chuvash Autonomous Region, the Decree of the All-Russian Central Assembly of the RSFSR, was formed, and on April 21, 1925, the decision of the Presidium of the WTCIK was transformed into the Chuvash ASSR. In June of the same year, the city of Alatyr with three vulsion is included. The first years of the existence of Chuvao, and then the Chassron, noted by difficulties and tests, whose peak is in 1921: Initially, the uprising of the peasants, brutally repressed by the Bolsheviks, then a poor crustacean and terrible hunger.
In 1929--1936, Chuvasr was part of Nizhny Novgorod (since 1932 - Gorky) edge.
After the restoration of the national economy, the ruined civil war, it was subordinate to the formation of a powerful prom. potential. During the pre-war five-year plates, Chuvashiya experienced all the imports of industrialization and collectivization. In the republic, enterprises of woodworking, chemical, food industries, mechanical engineering (Kanhanvsky car repair plant, Kozlovsky house-building plant (now the combine of the vehicles), the Shumerlin plant of tanning extracts (chemical plant) and the furniture plant (automobile combine) were built. In 1939, a single-mole was completed. Zh.D. Vanash - Cheboksary branches. The share of the Chuvish among the work industry reached 44% against 9.5% in 1926 by the end of the 30s. Literacy of the population was approx. 90%, there was approx. 7.5 thousand Representatives of "Intelligentsia". Up to the 30s. national statehoodThere were Chuvash Sections and departments in the central party, state, cultural institutions. In places of compact settlement of the Chuvash in other republics and regions, magazines and newspapers were published on Chuvash. Jaz., Preparing pedes. Frames function Chuvash theaters. In 1935, the Chuvash Republic for outstanding progress in the development of Nar. Economic and culture was awarded the Order of Lenin.
At the same time in the 30s. The formation of administrative commands has been actively completed. Management systems, and Chuvashia has become its constituent element, where not only the whole economy, but also citizens are subordinated to the state. Supporters of other views were severely pursued. It is assumed that the rep. with con. 20 years. In 1953, more than 14 thousand people were repressed. As in the mn. National and state formations, most of the victims were accused of bourgeois-nationalist action. Creativity embroidery carving folklore
During the Great Patriotic War, more than 208 thousand natives of Chuvashia fought with the fascists. Of these, sv. 100 thousand died. (according to other data 250 thousand). OK. 54 thousand people Awarded orders and medals. From the western and central regions of the USSR in Chuvashia, more than 20 industries were removed. pred. During the war, the Chuvashovskaya ASSRA received a turning red banner of the GKO three times.
In the 50--80s. The average annual growth rates of the total volume of industry products in Chuvashia were ahead of all-Russian. In the 50--60s. Chuvashia from agrarian industrial. Stated industrial agrar. republic. By 1970, 26 large prom were built and enacted. enterprises, in Cheboksary: \u200b\u200bCotton Combine, electric plants. performer. Mechanisms, electric metering plant, Tractor plant Record. Parts, "ChuVashkabel", Alakra Plants "Electrical Appliance", "Electroautomat", Kanhana plants of electric goods loaders, paints and plastic products, etc. In 1970, the construction of Cheboksary HPP began, in 1972 - Cheboksary Prom. tractors. The same years are noteworthy in the enhancement of a directive nature economy. relationship. Reforms nar. Hoza Wa did not affect the basics of rigid centralized planning. Not sufficiently thoughtful was the placement of prom. enterprises. To con. 90s. sv. 80% of production facilities turned out to be concentrates. In Cheboksary and Novocheboksarsk. In rural areas, the industry is represented in the OSN. small enterprises Food and woodworking. industries. The structure of the industry retained high UD. The production weight of the production tools, which was 78% in 1985 in the engineering complex of the UD. The weight of products in the world level, in 1985 was 8%.
Intensive. The promotion growth led to significant. Migration of the population in the city, especially in Cheboksary. Liquidated part of the "unpromising" villages. Constantly went, especially in the mountains. The terrain, the narrowing of the functions of Chuvash. Yaz. With nach 60s. School Rep. We switched to learning to study with 5--7 classes on Rus. Yaz. Such an innovation helped parts of schoolchildren better to master Rus. Yaz., facilitated studies in technical schools and universities. But the sharp seizure of the native ode. From the educator. The process led to a literacy media by most of its carriers, in MN. The ability to explain only on the household level is preserved. Especially in a difficult position, representatives of Chuvash were. Diaspora. Search for exit from the current situation that has begun actively, but ill-conceived from Apr. 1985, did not give tangible results in the economy. The level of production continued to decline. Since 1991, recession of the production volumes in Absolut began. expression. Failure. Attempts to root. Reforming the economy of the country undertaken in the beginning. 90s, led by Nar. Khoz-in to the system crisis. In persons. The difficult situation was regions that do not have rich in nature. resources and enterprises for their recycling.
Opticality and exacerbation of socio-economy., National, cultural and domestic problems in the context of the weakening of a hard ideological. and state Dictates contributed to the emergence of societies. Movements that advocated the expansion of the rights of republics and peoples. In con. 1989 was created Chuvash. societies. Cultures. Center (Chokz), in March 1991 - Chuvash party. National Revival (Chap), 8--9 Oct. 1993 Org-Wan Chuvash National Congress (CHH), whose delegates were represented by Chuvash. Population Rep. And Chuvash. Diaspora. On start 2001 in Chuvash. Rep. Registered 39 politics. associations, there are 12 national societies. centers.
2. Oral creativity of the Chuvash people
Oclineality of folk art of the Chuvash, his pronounced syncretic character There were developed in the process of long and relatively intensive inter-ethnic cultural and historical and genetic interaction with other peoples over many centuries.
The foundation of the folk art of the Chuvash was carving on wood, ceramics, weaving, embroidery, patterned weaving, sewing beads and coins, which have achieved even in the absence of high-level fishery centers. Jewelry art - chasing, inlay, etc. - It was developed weaker.
Chuvash-pagans have a certain development received the original art of sculpture, which manifested mainly in the construction of stone and wooden marginal monuments - Yuna.
2.1 National embroidery
The most popular type of creativity was embroidery (cooler): it was literally every chuvash woman, a girl. Embroidery decorated with the crusts of the upper men's and women's shirts, scarves, aprons, etc. Specific traits Chuvash ornament - a combination of muted, mostly red, with an inclusion of golden, green and blue colors with a subtle sense of rhythm. The composition of the Chuvash Embroidery, motifs and technique of execution, having a single ethnic basis, vary from different ethnographic groups. In the past, when embroidered, more than 30 seams were used.
For the rustling chuvash, having a more pronounced genetic connection with finno-ugrin, characterized by strict gamma colors (green, orange, black; on heads (Hushpu and Tuhye) - pink, blue and lilac), geometric ornament from rhombic figures, the use of small seams.
The shirts of the Chuvish Anat Yenchi (middle-s) were decorated with embroidery on the seams and cuts, along the edges of the hem and sleeves. The ornament is a geometric, leading color - muffled red, marlenic in combination with green and orange (later - blue and brown).
Embroidery of the Chuvish Anutar (lower) differed in large and bright poly-chrome patterns. If the rude crude geometric ornament has a small and simple geometric ornament, then Anutar and Anat Yenchi - the drawing is larger, more often combined with vegetable stylized patterns.
From the XIX century, with the appearance of factory fabrics in the Chuvash villages, the applique for decorative design of costumes begins. Chuvashi was allocated by the skill of artistic belts with geometric ornament, braid, vintage cords. They were especially skillfully decorated with beads, coins, small-sinks-Uzhov (Kauri) Headquarters of the XIX century. --Huzpu and Tuhuck.
2.2 Music
Traditional musical culture The Chuvash developed as a result of the mutual action of the Turkic, the Oldians and Finno-Ugric components. Equipment of most songs was accompanied by a game on a variety of musical instruments: Bubble (Shapar), Bubble (Sarnai), Vargan (Cupam), Swirl and Druzhki (Shahkin), Violin (Cupam Surma), Husli (Kösle Violin) ) And others. The bulky basis of the Chuvash music is pentatonic. The one was mostly alone and rarely two-eyed.
Unlike many neighboring peoples, a collective (choral) singing has received a lot of spread.
Dances from the Chuvash did not differ, great variety. The movements of girls (women) in dance smooth, plastic, and men are temperamental, with ruminants, squats.
At the beginning of the XX century. A harmonica, Balalaika, often and guitar appear in Chuvash villages. Under the influence of urban culture there is a new youth style music folklore (Maiden love songs, chastushki, dance tunes, etc.), they get the spread of Russian dances (lads, Kamarinskaya and others).
2.3 wood carving
Chuvashi Tree Threaded Punny Utensils (Cups, Buckets for Beer, Solonki, Pitry for Storage Linen, Wooden Tanks for Products, etc.), Furniture, Gate Poles, Houses, Wells, Other Economic Buildings, Thread ornament The main one was geometric and included individual lines, which constituted various types of quadrangles. There were sockets, concentric circles, the so-called "Russian" gates that appeared in the crown from the end of the XIX century, decorated with embossed threads, walking from the depths of centuries by the Bulgarian solar circle and the "rope". The crown was common, mainly under the influence of Russian, deaf bas-relief carving with plant ornament, as well as a propical carving.
2.4 Folklore
Chuvash oral folk creativity had developed species and forms. It was closely associated with agricultural labor and various kinds of rites.
Folklore Chuvasha is based on a song. The youth was performed by songs during the streets (gatherings) and underwent, Waia (evening rounds), Serne Yani (ghosts on the rings), Savarni Chupini (Maslenic skating), sang wedding, labor, lyrical, recruit, and also historical songs. It was guessing the crude and ritual songs, sang during the rites of Kor Sari or Avan Sari (autumn sacrifices in honor of the new harvest), and so on, the songs of the funeral-memorial cycle were deeply sad.
Before Christianization, the feasting songs of the Chuvash had a purely ritual color. They were full of spirit of respect for customs, work, related links. Over time, packaging songs turned into guest. The specifics of poetics is shaped parallelism: the first half of the song stanza contains a description of a natural phenomenon, and the second, the main one gives a similar picture of human experiences.
Among the numerous Chuvash fairy tales (Yums) are dominated by magical. The most common plots of them - searches peasant Son., according to the Testament of the Father, the country of happiness, the struggle for the return of stolen happiness, revenge the evil forces for the destruction of the native and the people. Widely represented fairy tales about animals, domestic, novnelistic, etc. The special genre of folk creativity was conspiracy and spells related to the pagan cult, the expression of folk wisdom was proverbs, sayings, riddles. In the Chuvash Folklore there is a layer of historical legends and legends (Khalap-Semi) about the life and heroic acts of ancient ancestors, about the Bulgarian era, about the IGA Mongol-Tatars and Kazan Feudalov, O. Pugacheva, etc. The legends about Smiling - Chuvashsky are especially popular. Mythical good Hero-Giant.
Conclusion
According to scientists, the roots of this nation are found in the oldest ethnic groups of Altai, China, Central Asia. Bulgarians are considered the closest ancestors of Chuvash, the tribes of which inhabited the extensive territory from the Black Sea region to the Urals. After the defeat of the state, the Volga Bulgaria (14th century) and the fall of Kazan, a part of the Chuvish settled in the forest edges between the rivers of Sura, Sviyaga, Volga and Kama, mixed there with Finno-Ugric tribes. The lower chuvs of the Kazan province, 1869. Chuchashi are divided into two main subecadical groups in accordance with the current Volga: the rigging (Viyal, Tour) in the West and the North-West of Chuvashia, the Snow (Anatari) - in the south, except for them in the center of the republic allocate A group of medium-line (Anat Yenchi). In the past, these groups differed in domestic estimates and material culture. Now the differences are increasingly smoothed.
The self-calibration of the Chuvash, according to one version, directly dates back to the ethnonym of the part of the "Bulgarey-speaking" Julius: * IFR\u003e iowaљ / Iuwaљ\u003e andovaљ / Iuvaљ. In particular, the name of the Savirov tribe ("Suvaz", "Suvaz" or "Suas"), mentioned by the Arab authors of the X century (Ibn Fadlan), many researchers consider the Turkic adaptation of the Bulgarian name "Suvar".
In Russian sources, the ethnonym "Chuvash" is first found in 1508. In the XVI century, Chuvashi became part of Russia, at the beginning of the twentieth century they received autonomy: since 1920, the Autonomous Region since 1925 - the Chuvash Autonomous Soviet Socialist Republic. Since 1991, the Republic of Chuvashia as part of the Russian Federation. Capital of the Republic - Cheboksary. The foundation of the folk art of the Chuvash was carving on wood, ceramics, weaving, embroidery, patterned weaving, sewing beads and coins, which have achieved even in the absence of high-level fishery centers. Jewelry art - chasing, inlay, etc. - It was developed weaker.
Literature
1. Historia Ecclesiastica Zachariae Bhetori Vulgo Adscripta Edidit E. W. Brooks, V. II, 1,12, CAP. 7, r. 214; Corpus scriptorum christianorum orientalium. Scriptores Syri, Series Tertia, t. VI
2. Prokoki Caesarian. War with Persians
3. Feofan confessor. Chronography.
4. Feofilak Simocatta. History.
5. Movses Kalantionatui. The history of the country Aluang.
6. Nina Pigulevskaya. Note on the relationship between Byzantia and Huns in the VI century.
7. Notes Ahmed Ibn Fadlan
8. V. P. Ivanov, V. V. Nikolaev, V. Dmitriev. Chuvashi. Ethnic history and traditional culture. Moscow, 2000.
9. V. P. Ivanov, Chuvash Ethnos. Cheboksary, 1998.
10. V. V. Nikolaev, the history of the ancestors of the Chuvash. XXX century BC e. - XV century. n. E., Cheboksary, 2005.
11. V. F. Kakhovsky, the origin of the Chuvash People, Cheboksary, 2003.
12. Guriy Commissioners (Kuri Vanther), Chgwash Halgh History, Shepashkar, 1990.
13. Culture of the Chuvash Territory, Cheboksary, 1995.
14. Chuvash folk tales, Cheboksary, 1993.
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Characteristic of russian folk toys as a special kind of Russian folk art. History, symbolism and image. Scythian antiquity and religious toys. Influence of a Russian folk toy on the formation of a child's personality. The first samples of dolls.
Tatyana Gavrilova
Chuvash Folklore in the development of speech of children 2-3 years
I work as an educator in children's garden "Ivushka"which is located in the village New Yakhakas Vurnarsky District Chuvash Republic. This year, children aged 2-3 years came to me.
Before proceeding with the presentation of the main essence of my report, characterize features speech of children 2-3 years.
So, everyone knows that between the ages of 2 and 3 years there is a significant jump in detergery Development.
During the examination childrenentering the pre-school organization, most of them are detected by unfavorable speech development. Conventionally can be divided into three groups: First, these are children who are absolutely absent; Secondly, these are children who speak individual words; Thirdly, these are children who speak phrases, but their speech is vague and with grammatical errors. And only a few childrenentering the kindergarten, they have a speech corresponding to the norms of orthoepia and understandable others. But to two years in self speech The child should have at least 50 words. The speech of the baby should be relatively understandable for others. But actually speech children early age leaves much to be desired. This is explained by the reasons that have either biological or social nature.
One of social factors There is a communicative deprivation, that is, the lack of emotional and speech communication of a child with loved ones. It has long been known that with the baby it is necessary to communicate from his very birth. However, many parents, unfortunately, underestimate this fact, and therefore children with whom communicate little have a lag in the speech development. But it is a major means of communication of people. In addition, from the level of his speech development not only intellectual developmentBut also the formation of the person and the nature of the child.
It is the early age of the most favorable for laying the basis of competent, clear, beautiful speech. Therefore, the task of enriching the dictionary and activation speech of children Must be decided every minute, constantly sound in conversations with parents, permeate all the moderators.
Generally accepted opinion it is believed that if the kindergarten is located in the village, then children entering kindergarten are initially able to talk on chuvash language. However, many parents and adults are probably of the best motives, from the moment of birth, try to teach their children Russian language. Therefore, the current situation is that the majority of pupils at the age of 2-3 years who first entered the kindergarten speak only in Russian, although their parents speak quite well two languages: chuvash and Russian. Consequently, they are bilinguals. As is well known from scientific sources, billing people are customary to call those people who fluently own two languages \u200b\u200bat the same time.
In a situation where the child grows in a Russian-speaking family, parents may encounter certain difficulties. Since the surrounding medium outside the house becomes an important for the child, chuvash language can be perceived by a child like "weak"And therefore more difficult to communicate and even completely reject. As a result, gradually one of the languages \u200b\u200bbecomes "Dominant". This is the language in which the child communicates most. Especially in kindergarten, where the systematic learning is Russian. Communication on chuvashsky It remains within a very narrow household circle. It is clear that in this case chuvash language is secondary and to maintain it requires special training to language developed, Improved, enriched.
Normally, the process of mastering two languages \u200b\u200bis held certain stages. development. When a child sends two languages \u200b\u200bunder three, he passes two stages: First, the child can mix two languages, then begins to separate them from each other. For about three years, the child begins to clearly separate one tongue from the other. The younger child, the more chances he has a second language in the highest possible amount and with a natural pronunciation.
By 3 years, children have already a significant margin of words, own many forms of their native language, in this case Russian, unite words into three hundred sentences, use plural Nouns and pronouns, most sounds are pronounced almost correct. Begins to form a planning function speech, abruptly increases the ability to imitate, play audible. It makes learning to second language in this case chuvashsky Even more productive.
These theoretical statements served as the basis for development of my pupils.
Based on the fact that children live in Chuvash Republic where according to the law on the language of the state is recognized two language: Russian I. chuvashwe consider it necessary to attach children to Chuvash, along with learning Russian language.
My choice chuvash Folklore as means for the development of children's speech 2-3 years due to two reasons: First, it's training chuvashsky language on accessible to children speech materialsecondly, this is an introduction to chuvash National culture.
For example, we will analyze the game "Mulkachell". Before holding it, you choose a hare. It becomes in the center of the circle formed by the children. Children clap your hands and speak:
Mulkach, Uy Tuh! (2 times)
W-WT-W, Uy Tuh! (2 times)
Mulkach, Kishr and! (2 times)
W-W-W, Kisher and! (2 times)
Mulkach, Alna Soup! (2 times)
W-W-W, Alna Soup! (2 times)
Mulkach, Tashzha Yar! (2 times)
W-W-W, Tashzha Yar! (2 times)
The hare performs those movements that are asked to perform.
The accessibility of the speech material is manifested, firstly, in this poem there is a familiar hare's image, secondly, there are many repetitions, which contributes to the best memorization of words. Promotion children Culture occurs in the process of repeating some available sounds chuvash language.
Studying the language, the child comes to the culture of the people, his spiritual values, in it there is a feeling of love for native edge, respect for national traditions, customs chuvash Narod.
It is well known that for a full-fledged child Development Folklore must accompany it from birth: Pests, sweatshops, lullaby songs make the life of the baby emotionally filled with joy, in a word, communication with adults. Rivets, the sentences have long been enjoyed in education childrenin order to attract attention to soothe cheer baby, "Talk" with him.
Tasks learning chuvashsky Language I decide not only in the process of educational activities, but also in everyday life, independent activities children in kindergarten. All work takes place in close cooperation with parents of pupils.
Chuvash Children's oral poetic folklore divided into different genres: "SPKA Ulsen Poets", "Poetry calendar", "CN-John Svvvi-Yurry", "Kulleni SV JUR", "Wai Jurrree", "Vitlash Takmaks", "STSEM", "Holds of Sumy", "Trigtn Chrhe", "Yumah Khalap", "Kalalampem Yptarem".
The first song that the child should hear is lullaby. Word "cradle" Etymologically comes from the verbs "Scat", "Kolya", "sway". Lullaby songs are still called Bikes. This name happened from the verb to the fire, Bat - "speak". The old name of this word - "whisper", "Treat". Over time, the lullabous songs have lost the ritual character, expressing tenderness and love for the child, they have a certain goal - to put it on. This contributes calm, measured rhythm and monotonous entanglements.
IN chuvash language"SPKA JURRIEM" These are small songs. Heroes of these songs are close to children. These songs wish happiness, health and good life To whom they come across. They teach to be a good and clever man. Hearing these songs, the child meets friends - birds and animals, with nearby villages, rivers, forests. The same songs introduce the child with labor actions that need to do at home.
IN chuvash Luxury songs The vowel letter was the original syllable. The first song was the first time so:
Ah, alumni, Az Buki Armant,
Aluch Pappu Tweas Tet, Vedi-verb Wirmante.
Pappus Tusa Pathersen Chapar ChPPI Ywar -
Tettypele tetty tet. Pier Acha Spkara.
A. Vasilyeva N. Miodakes
In 1989 in Chuvashsky Book Publishing The Collection of Luxury Songs chuvash poets. Author - N. V. Testrai (Vasiliev). Here are some of them:
Shana All wheelchairs, Acham Bund,
Shanalkne Karpr, - Tutln sv.
SPPN-SPPN NUM NTU SYCH TA, ASAM,
SPLH JURI JURALPAR. Tunched par.
N. Vasiliev Y. ITASH
These lullabies I sing to children in front of day sleep. Some of these lullabies we are learning with children. In the process gaming activities I'm learning children Spedition of their dolls, gathering familiar words from lullabies.
For example, I spend the game called "Play with a doll", during which I show children a doll and i speak:
I'll show you a doll
And I'll tell about the doll.
Here is the doll head,
But the eyes are their two.
Here is a nose doll,
Ears, cheeks, mouth.
Here are the doll handles,
Here are the doll poultry.
Here the doll legs,
And on them boots.
Chopping doll closes (2 times)
Owls doll opens. (2 times)
Our doll can cry
Children doll will help.
Children doll swing,
Our doll falls asleep.
Then sneeze the children affordable for assimilation and repetition cradle:
Nianin - Papapin,
Achin - Spkin,
Lahatam-Lashtam Yarm
SPPN-SPPN OVRMA.
Baby negotiate after me individual words and phrases ( "Excessive"By lulling a doll.
The most common kindergarten genre folklore -"CN-John Svvvi-Yurry" (Shades and Site). SHILD - this is a poetic appeal children To different phenomena of nature (to the sun, rain, and a sentence - to animals. Previously chuvash ancestors thought: All that surrounds them is the same living as they themselves. Therefore, they communicated and appealed to the environment, as a living being.
Christmas, Tuh, tail, Tuh!
Achu Shyva Caine, Tet.
Turchkup Turtsa Il,
Milkpelen Shlus Il.
Khmach KPA TKHTTART,
Dustp Kulach Iter.
Or another example of circulation - to the bird - "Three Yurri".
Three or three, TR-three,
Irpe Irech TRP-and,
At PrSI AKRR-and,
With PTTI AKRR-and,
SAR Unco Sarrr and?
does Manna Lartron-and?
Similar shafts I use with children in the process of educational activities for the implementation of the educational field "Cognitive development» during which, along with Russians on nature, children try to repeat the words familiar to them "Christmas, Tuh, tail, Tuh" or "Three and three, TR-three". Appeal to the phenomena of nature on chuvashsky Language is used by me and on a walk, where children learn to vote.
Perception folklore.Brightness chuvashsky Language enriches the vocabulary of preschoolers, makes their language more expressive.
Thus, all of the above allows you to use practically chuvash folklore Material as pedagogical development of children's speech 2-3 years and in modern families and in pre-school organizations. At the same time, the upbringing of love for native chuvash culture , K. folk art.
In Chuvashsky oral-poetic creativity, almost all genre types and forms are presented, except, apparently, epic works. The fabulous folklore is rich ( yumah, Khalap), which is divided into three main groups: Magic or heroic, domestic fairy tales and fairy tales about animals. Magic fairy tales The basis has artistic fiction, differ in abundant fantasy, their main ideological motive is the struggle with evil for the truth, for the happiness of the people. In fairy tales of animals in an allegorical form, the lives of people and their relationships are displayed, and in domestic - we are ridiculed with common human deficiencies and vices. And those and others are inherent in the overall satirical and humorous orientation for them.
Chuvash Proverbs ( wattisen Sămăhĕsem) and sayings ( kalaarăshsem), constituting another genre of oral poetic creativity, are predominantly instructive or educational and, as a rule, consist of one or two logically completed proposals.
Extremely richly presented in the Chuvish song folklore ( yură.). There were labor, ritual, wedding, memorial, recruit, and feathers, lyrical, as well as historical songs. Among young people were widespread, loving, occupational, dance, gaming and comic songs and ballads were widespread. An important place in the song genre belongs to chastushkam ( takmak).
Vocal music was mostly align. Duette singing, as well as two-rope and multi-beams were distributed in contact zones - under the influence of Russian, mord, Ukrainians, etc. on numerous studies of specialists, in the Ural region, many archaic musical and folk phenomena were preserved, which have long been disappeared in other regions, including in Chuvashia. For example, here sustainably sustained such ritual complexes, like Văzyă, under, Nartukan, etc. To the archaic phenomena, which couldned in the folklore of the National Chuvash, should also include frequently repeated in ritual songs ( wedding, memorial, blessing, etc.) pronounced prechristian ( pagan) Scene motives. An integral part of folk creativity is dancing ( tashă.). Melodies female dance were moderate, male - quick and lively. Move girls ( women) The dance usually smooth, soft and very expressive. The male dance compared to women's sharply contrast - it is distinguished by deleting and hinders, temperament and speed of movements.
The fulfillment of most songs and dances in the Chuvash was accompanied by a game on musical instruments. Traditional of them were a boil - bubble ( shăpăr.), husli ( kĕsle), violin ( sĕrma Copăz), Duda ( shăchlich), drum ( parappan.) et al. However, it should be borne in mind that the drum as a musical instrument was used mainly among the rigging crusts. A variation of a boil-bubble was Zurena - Sărnai, which was usually made from the whole animal skins - goats or a foal - and differed in the wealth of sound. Since the second half of the XIX century, the Russian Balalaika also became known to Chuvasham ( tămra), harmonic ( chut Copprice), And later - guitar, mandolin, bayan and other musical instruments. It is noteworthy that the tradition of playing the bubble ( shăpăr.) Among the Narral Chuvash held quite a long time - until the 50s and 1960s of the XX century, while the rest of the tools went out early and preserved mainly in the memoirs of Storelov. Currently Chuvash folk instruments Used mainly folklore collectives and professional artists.
1.3 Chuvash Folklore as a pedagogical phenomenon.
Education and training exist in the people as many centuries as the people himself exist - it was born with him, it grown with him, reflected the whole story with him, all his best qualities.
Each people seek to convey to the future, as Gumer Bashirov said aptly, his brightest star, the most expensive spiritual wealth - the centuries accumulated wisdom. Native words, native songs, native patterns are the most bright stars Chuvash people, his most expensive spiritual wealth.
The beauty of words, songs and embroidery creates interesting harmony In the Chuvash system of aesthetic education, which is the contribution of the Chuvash people to universal aesthetics and pedagogy.
The people had its own system of attachment of the younger generation to the beautiful. Its characteristic feature is in the close relationship of aesthetic education with labor. Aesthetics created in labor was one of the most important means of developing a person.
The content of aesthetic education includes a) the development of the ability to understand beauty in the surrounding reality, b) the production of aesthetic taste, c) influence the growing generation of creative skills and skills in the field of beautiful, d) strengthening the unity between the aesthetic development of children and their moral growth, mental education and labor preparation.
Children already at an early age are able to aesthetically perceive the beautiful in nature, games and folk art. They show great interest in everything that attracts their attention. Care, spectatives, fun, songs, poems, fairy tales, "pleasant harmonic color combinations, delivering to children joy, develop their ability to perceive beautiful." One of the most effective means of aesthetic impact on children was always oral folk art, first of all its most complex genre - fairy tales. In fairy tales, the children heard the sayings and proverbs, riddles and questions on the smelter, a lot of places in them were also the songs that were remembered by children and could be performed separately.
In very many fairy tales, the beauty of nature is described, the beauty of the girl and good well done is mounted, the accuracy of everyday life, hard work is approved, heroic warrior struggle with dark forces, hostile man.
Fabulous stories Penetrated children's games, fabulous characters found their embodiment in toys. Thus, fairy tales seem to be synthesized the weight of the means of attaching children to the beautiful and, revealing the role of each of them, determining the place of each means in the system of aesthetic education, as if they represent their value in generalized.
The tale is extremely quickly imprinted in the memory of the child with all its picturesque parts and coverage of expressions. Peculiar poetic speech turnover in fairy tales enhance the aesthetic effect on children. Many fabulous characters have permanent epithets: Pěr Picě Hěvell, Teeěř Picě - Tych, Tilě-Tus, Ypa-Utaman, Cashkăr-Kashaman, Kikirik-Avtan, Ulhammah, Khura Önu - ç ç ç çре ěre, and others - one cheek , the other is a month, a fox-girlfriend, Bear Ataman, Wolf Kashaman (not Transl.), Kikirik-cock, wind-Argamak, a black cow-tail, like a snake, etc. Such epithets contribute to the disclosure of the aesthetic images of the heroes of fairy tales. In the characters and "behavior" of fox, bear, wolf, dogs, cats, etc. P.- Enemies and human friends are embodied, of course, human charactersBut at the same time, fairy tales tell about the habits and the peculiarities of the natural life of these animals, which are included in the most content of their aesthetic images. Naturally, the latter is easier for children of early age, and with age they begin to comprehend and the first thing that, in turn, increases even more educational meaning fairy tales
The image of fairy tales facilitates the aesthetic perception of their children. The hero is usually very bright and abandoned by those traits of character that bring it closer to the national character of the people: courage, hard work, wit, etc. These features are revealed in many events and different positions.
Chuvash has fairy tales, whose special purpose is to edit the listener. These are such fairy tales that could be called "Puçхrlě" - "Perevilsi" ("The Fairy Tale of My Mitrofan", "How was his name?", Sarmantei et al.) And "in-hurrisěr" - "endless", like the Russian fairy tales about the white bull or the Popovsky dog. For example: "One had a smart cat. She died. The owner buried her, put the Supil on the grave (a memorable pillar) and wrote on it: "one had a smart cat. She died. Her owner buried her, on the grave I put SUP and wrote on it: "one had a smart cat ..." and so on until the listeners laughter and noise will not deprive the storytellor to continue the fairy tale. There are many similar fairy tales, and the skill of the narrator is that in various variations of intonation as long as possible to maintain interest in this fairy tale, although deprived of meaning. However, in the manifold, fairy tales of various genres and such fairy tales acquire a certain meaning as a means of aesthetic effect.
Role short fairy tales About animals in the aesthetic education of kids increases the fact that they have chuvash have long been accompanied by shadow miniatures. Sometimes, peculiarly dramatized small fairy tales have been overgrown into puppet performances with the participation of children themselves.
If in the younger age aesthetic education was built on a consecutive and systematic perception by a child small, but bright and figuzzles about animals, household fairy tales and anecdotes, for older age, large and complex fairy tales about unknown distant areas were used, about the life of other peoples, etc.
Proverbs and sayings performed with effective means of belief in moral education. The elders, chatting with the children, often spoke to the proverbs and sayings.
For example, proverbs about politeness and a valid attitude to the eldest: "Watta Cursan, the çhlěkok Il" - "You will see the old, take off the hat," "Wat hasn, Hirěç," - "Do not lose the old person."
Modesty is necessary to each person: "Hăvna An Mukhta - Sana'ds Mukhtachchchhch" - "I didn't praise myself, let them praise you", "Aliak Patnica Caisa Pur Chukhna Těpel Kais Larmaçç" - "When there is a place at the door, do not sit on the front benches "
Friend, comrade should be honest, a good man. Therefore, young people are given advice:
"Usaal Hyçănn An Kai" or "Usalăn yěř's an enthrall, the ones" - "don't follow the scoundrel", "Usaltant Tar, Spear Patna Pyre" - "Run from bad, go to good."
Proverbs and sayings that determine the behavior of young people, a lot of many. They are set out the requirements for all parties to the life and activities of young people.
The Chuvish, the mystery is called "Tupperly Yumys", "Sutmalli Yumah", which means literally "a fairy tale, requiring a deposit", "the Word, for which, if not unraveling, will follow." Sale is a punishment for the inability to solve the riddle of the appointment of the groom or the bride from the world's most unattractive.
The riddles of people, their lives and death, youth and old age certainly contain material, indirectly calling young people to improving personality:
What do you want - you can't buy,
What you do not need - you can't sell.
Mysteries are smart, high ethical, many carry moral idea. Accordingly, they influence mental, aesthetic and moral education.
Children and young people were widely used during games, holidays and recreation, in the breaks between the case. Adults in their medium almost did not use, the riddles for them were a pedagogical agent necessary in raising children.
The aesthetic perception of fairy tales, mysteries and proverbs, their expressive means, the brightness of the language of the narrator enriches the vocabulary of the educational vocabulary, makes their language expressive.
Thus, the effectiveness of the aesthetic effects of works of oral folk creativity on children depends on many reasons, among which the first place belongs to the teacher's ability to select the appropriate age and individual features The listeners material, its ability to properly furnish the very process of telling the use of clarity, its skill to expressively tell us, finally, his ability to attract children themselves to making elements of games and dramatize this process of telling, i.e. Ability to rely on the creative activity of children.
The aesthetic education was facilitated by the life of Chuvash and household items (home domestic): carved decorations of the lords, wooden dishes, embroidered towels, patterned tissue tablecloths and covered, etc. The observation and perception of children's household items was an effective means of aesthetic education. Teenagers, children began to take part in the manufacture of various jewelry for the house, the girls helped in the guidance of order in the hut: Meli, soaps, cleaned, whiten, etc.
The girl from six to seven years old began to train embroidery, showed the simplest types of seams, they were taught to reset the drawings. Seven-eight-year-old girls began to knit lace, socks, stockings, gloves and mittens, which included elements of a national ornament as an indispensable component. An artistic flair of girls was manifested in their design. But the most efficiently the development of this alien, naturally promoted embroidery.
Especially embroidered a girl. Coming out married, she almost did not have the ability to make embroidery, except for those rare cases when she seiled her festive shirt or simple drawings Decorated children's clothes. Therefore, the Chuvash girl sought to make so much embroidery to marriage so that it was enough for life. The wedding was literally an exhibition and a public bride art art. At the wedding, embroidered products were hung everywhere, objects of patterned textile, etc. Numerous audience critically evaluated these products.
Boys with a national ornament got acquainted most consistently: watched, as embroidered their peers, senior, mother. If the embroidery from the girls from the very beginning wore a business, so to speak, the character, the boys used the ornament only in the design of toys (except, maybe ornamements of the lapes). In the games and toys of boys, burning, cutting, drinking various ornaments occupied a considerable place: they were decorated with toy carts, harming, mill, etc. Cutting and drinking were "male embroidery", they were taught the boys older brothers or father.
Songs, along with embroidery, were the most effective means of grafting the children of love for the beautiful. Leading Chuvash Scientist, Ethnopedagog G.N. Volkov, characterizing Chuvash traditions in aesthetic education, emphasized: "In the folk art of judgments about beauty, there is almost no. The people sang beautiful songs, created beautiful tools and clothes, were beautiful folk holidays. The beauty of the people appreciated in the case, in action, in the reality of the words about her there was a little: it had to be understood and feel. Beautiful - not an end in itself, it is an integral part of the life of the people. "
The Chuvash folk song is undoubtedly an invaluable musical and pedagogical material reflecting in its content the historical synthesis of moral and aesthetic for centuries. It is a unique unity of the artistic form and moral and aesthetic content.
The value of the Chuvash People's Songs we see in its truthfulness and depth of content, in the expressiveness of the form. The focus of songs - a man in all richness of his best moral qualitiesThe person identifies the ideal of the people, and in this there is their aesthetic pattern. In the Chuvash folk song, such human feelings and emotions are expressed, the empathy of which morally elevates and enriches the person. And this always finds an understanding of a different listener, which largely contributes to the manifestation of its educational impact.
From an early age, the children heard the songs: My mother sang, sicking a child, sister sister, removing the hut, sang her grandmother, sitting behind a ribbed, sang softly (Öněřleně) Father for any work. There were a lot of different songs performed in the process labor activity. There were a lot of youth songs: Horovodnaya (Waiă Yurriem), Cosellers (Ulah Yurriem). songs that were performed on the Holidays of Youth (Surhuri, Khěr Sări Yurriem), etc. Peang guests (Hăna Jürri); They sang at the weddings (Tuy Jürri, Salma Jürri, çěně Hăta Jürri).
Children could not pass by this big song wealth. Imitating the elders, they performed some unearned songs, sang their children's songs.
Early attachment of children to folk song creativity The love of native melodies has acquainted them, contributed to the fact that the Chuvash people became musical.
Children's songs are usually associated with games, rounds. These are peculiar games contest with dance movements, with improvisation, so characteristic of real folk arts - it was in the customs, in the traditions of the people. They are most clearly reflected by national features and complexity of the expression of a national character: the word, music, action. With pedagogical positions, the value of the game in their teams is that they bring up a feeling of beauty, pride for this beauty.
One of the bright holidays is not only for adults, but especially for the children was a wedding as a rite in which songs, dances, games were performed by everyone. Children were raised in the songs of redemption for the bride, and, probably, thanks to the presence of children at the wedding, the atmosphere was special - festive-gaming, with jokes, fun. At the same time, the children sang their songs, children's, improvising on the course of action. And adults have encouraged them, encouraged with small gifts.
The scope of the use of traditional children's folklore was not limited to a childish environment. Four from Chuvash had its own people's system of musical education, which first of all previously assumed the recruitment of children to the song wealth of the Chuvash people. It was laid in a family, where, as a rule, all sang and the song was a kind of moral beginning of the formation of a person.
The famous Seven Commandments of Education in Chuvash are surprisingly fixed in folk songs that surround children from an early age. Among them are those that are fulfilled by the children themselves, that is, the children's folklore actually and what they transmit, inspire adults, but not as directly directed pedagogical effects, but in musical form. The topic of hard work, health, mind, friendship, kindness, honesty, chastity sound in many folk songs. The work as activities often wore a collective nature, so its beginning and completion was furnished solemnly, with decoration (clothes, song, dramaturgy). Collible songs "Nimena" ("to help") in the children's artistic environment sounds performed by both adults and children.
Health was considered the main good in a person's life, therefore, as Academician G.N. Noted Wolves, the phrase "Orlăkh-Syvăkh" in the Chuvash language, always opposed today and today it is the wishes of good "Subeh-Syvăkh Sunatăp" - "I wish all the best."
Husan Hulinche Chut Hacchagă.
Chěmpěr Hulinche Chěn Hacchagă.
The ç çнатлаăKra měn hachagă
Sylăchp Syvăch Pete Hacchagă!
In Kazan city, paper is appreciated
In the Simbirsk city, the belt is valued;
On all white light that is valued?
Good health is very valued!
There are quite a few songs in which they are specifically stated about the mind, about morality. The songs are invaluable in the mental education of the younger generation: on the one hand, they call for mastering the rich intellectual experience of workers, and on the other, represent the material for thought, reflections, enrich the memory of information about the surrounding reality.
ÇAvurănis Ută, ah, çulmashkăn
ÇAva Avri Korlě Those, Ai, 2012;
Mattur That Jurlam - Mattur Korlě,
Kěçrink Puquarnă Ta Osz Korlě.
Squeezed hay, ah, mow -
Cosovish need yes, ah, maple,
Znorzno and sing - the pad is needed,
Sysman accumulated yes Mind is needed.
The main theme of the packaging songs was the relationship of people, friendship forever, and this allowed a person to feel protected and at the same time strong. Children had these songs, although they did not sing them. High moral examples of the relationship of elders to relatives and loved ones were always enlarged by the poetic content of songs:
Ah, Pete yyvăr, Ah Pete yyvăr
AtaLent Chul Kălarma;
Ah, Pete yyvăr, Ah Pete yyvăr,
Tăuvsensenskaya Uyrălma.
From the Volga stones to get.
Ah, how hard, ah, how hard
With relatives to part.
Lullabous songs opened the child the world of kindness surrounding his people and items. They are designed to a baby, sings them mostly mother. Lullaby pedagogy is the most natural-like pedagogy in the entire history of mankind.
In a simple lullaby song, the mother told about the homeland, about the importance of labor in everyday life, told at ease, in surprisingly poetic form, without any edification and moraling. In the same song, we comforting a crying child, sicking the cradle and sentencing that the mother left the berries and bring berries, the father went to the bazaar - will bring Kalach.
Achin - Papinc,
Laptăk, Laptăk Săpkin.
Ashshě Kineă Pasar,
Kulach Ils Kielet-Ha,
Amăsh Caine Travela
Tats Kllet-ha
Pappa, pappu,
Nannye Pappu Tue.
Baby sleep,
Show a cradle.
The folder went to the bazaar,
Kalach buying, return;
Mommy went on berries,
Narvava berries will come back.
Fall asleep, fall asleep,
At the presence of falling asleep.
G.N. Wolves, exploring the problem of pedagogical effects of Chuvashsky folk songs on children, allocated two points: the selection of songs themselves - natural selection And the selection of songs for children with educators, adults - pedagogically appropriate. For children, there were particularly attractive songs, "the distinguishing signs of which are funny, rhythmic, fascinating, ... funny, perky, comic songs: people even in difficult living conditions have protected children from sorrowful thoughts, tried to keep them away from social disasters and social evil."
Russian musician and ethnographer V.A. Midges in their works about the peoples of the Volga region wrote that Chuvashi, as it seems to him - one of the most musical peoples. From Chuvash he did not come to meet a single person who would not sing his native songs.
Therefore, one of the main artistic advantages of the Chuvash people are folk songs, the manner of their execution, folk musical traditions. And the folk musical traditions of Chuvashi diligently transmit from generation to generation as the cultural memory of the people. The songs of their village, their parents are the faithful means of knowing life: they reflect life in all its manifestations, but at the same time affect life, changing it, is one of the main features of folk art in general, the idea of \u200b\u200bthe transformation of the world. This feature of music, understood since ancient times, its educational significance and took place as a basis in the folk system of musical education.
Songs, as mentioned above, is an effective means of aesthetic impact on the younger generation, and it's not only the beauty of the poetic forms of songs, but also in the beauty of their content: they called for work, to beautiful actions, moral behavior, etc.
In the song, the mind and poetry are placed nearby: "Do not sing - so blood will come, not to say - so the language will become stupid," they sang the peasants. The song raises the vigor of the Spirit. It nourishes folk wisdom, and a bird twitter.
A special place in the upbringing of the younger generation is occupied by the actual youth songs - dance and crying brides. Rarely dance songs were performed in the room, they sang in a meadow or edge of the forest, accompanied by dances, smooth movements. The people always believed that the songs develop the voice, expand and strengthen the lungs: "To sing loudly, you need to have strong lungs," "The ringing song is expanding the chest," i.e. The words of songs, and the conditions and the nature of their execution contributed to improving health, the development of hard work.
In the crying of the Chuvash Bride, it was necessary to have its own, intimate, expressing personal experiences of the performer. For many hours, the girl, without repeating, sang about his life. The children were heard at weddings at weddings, and he made an unforgettable impression on them. The girl himself was preparing for such independent creativity, in childhood - in games (speaking, gaming preludes, songs), then - on the gatherings, in the dance, etc.
With all the variety of funds folk pedagogy In it, everything is thought out, everything is in place. The stupid, random is discarded - the millennium there is a natural, intellectual, aesthetic and ethical selection of rates of education. The song in this row of funds occupies a special place. She sing everything from Mala to Velik. Each age corresponds to their songs. She accompanies a person from birth to death. Impacting a sense of man, it simultaneously affects his consciousness and behavior. That is why her with a complete base can be attributed to the combined means of folk pedagogy.
The feeling of love for the Earth on which a person lives, the desire to make it even better and more painful, the feeling of belonging to a certain group of people, to his people raises folk music. There were no other nationalities of hostile feelings to people who had no other nationalities of hostile feelings towards people. These feelings were completely objectively in the nature of the nation itself. This is the song:
"Who would get next to me,
I would have pretext than my own. "
The historical past of the Chuvash people, his active role in the history is reflected in the historical songs that have come down to us since the existence of the state Volga Bulgaria. Neighboring peoples: Russian, Mordva, Bashkirs - Having in their folklore, the historical song Epos, the times of the Mongol-Tatar yoke, had an impact on Chuvash historical songs, even some of them may be a translation from Russian songs, first of all, it refers to songs About Tatar bow. But, despite the community of plots, images and genres, etc. Each people had their own characteristics in the reflection of life in the folk consciousness. If, for example, for comparison, take the songs of Pugachevsky time: Chuvash People's Song "Not Shumi You, Forest" and Russian People's Song "Not Shumi You, Mati Dubravi." In these songs, the plot, images, melody, words are similar. For comparison, we give the texts of the beginning of both songs:
chuvash: "Not Shumi You, Forest, do not go go, forest,
Restlessly the soul is not very disturbing. "
(translation of the city of Yumat)
russian: "Not Shumi, Mati, Green Dubrava,
do not bother me, good, youth, Duma Duffati. "
Much in common at the beginning of the songs, but, of course, it is necessary to assume a special, individual, reversible through national psychology, national character. Therefore, there should be no opinion about the simple copying of Chuvash historical songs among Russians. They probably arose in the joint living environment of Russian and Chuvash, or joint activities. It is impossible to ignore the fact that the Russian man in Chuvash was respecting, the proverb says: "Võrăksala Zhn Uryhal" ("Man is not Russian Floor Other", i.e. acquired the best human advantages, formed - Translation N.V. Nikolsky) .
An example of another genre of the oral musical and poetic creativity of the Chuvash people - Chastushki, also a convincing confirmation of mutual influences, contacts in folklore of different nations.
A chastushka is improvisation on the evil of the day, often reflection of instant life situations. Place of their execution, boring-gatherings, folk holidays. If we compare the metrochrome, the form of poems of the Russian and Chuvashsky folk songs, here we see a huge difference: the peculiarity of the rhythm of Chuvashsky folk songs: an approximate size, "rhythmic tightening", ... while the size of the clock is necessarily changing, in a special way organized rhythmic endings of phrases, - all This requires execution in motion (in dance), rhythmic play out (on percussion instruments). But in the chastushkah Chuvash people we see similarities in the form, in the composition with Russian chastushkami and with the children of other nations: almost always these are quarrels. Researcher Chuvash Chastushka "Takmak" E.S. Sidorova also notes the parallelism as a common line in the chastings of different peoples, where, for example, from 4 lines 1-2 - about nature, 3-4 - from a person's life; or 1-2 lines - about the subjects of life, 3-4 - from the life of a person.
For example:
Pakhchi, Pakhchi, Pakhchi,
Usroi urvery,
Eh, Urozhměr,
Couplummă crop.
Garden-garden, berry garden,
The berries of the stuff rose.
Eh, grew up
From the red steel.
Such parallelism makes it possible today to compose a chastushki with children to show much more fantasy, a chastushka becomes more poetic form of folk physician.
In a children's environment, especially in adolescent people are popular in classrooms, cabbagers, music lessons. Their execution and an essay represents a kind, according to G.N. Volkov "International Art Experience".
Artistic experience, luggage of artistic impressions of children, including folk art, make it possible to use them in educational purposes due to special emotionality, images not only content, but also forms and methods of execution. Collective theatricalization, game, adversaries highlight personal qualities of participants through a system of relationships in activities. The meaningful part and form of games create raising situations in which children fall. Thus, traditional folk art becomes the most important factor in the education of the younger generation.
So, all of the above makes it possible to practically use Chuvash folklore material as a pedagogical agent for educational purposes: the upbringing of love for native Chuvash culture, to folk art; Understanding the relationship of cultures of different peoples through the knowledge of the historical past Chuvash people.
The use in the educational work of educational, pedagogical possibilities of folk musical traditions is difficult to overestimate. Study, mastering folk musical traditions - the path to the formation creative personalitywhich can comprehend the beauty and incredit value of the spiritual culture of the people, to understand and evaluate the contribution of each people to the treasury of a universal spiritual culture.
Chapter 2. Chuvash Folklore at School.
Abilities, creativity. 2. Reveal the experience of the practical use of folklore in the education system of the Vologda region. 3. Review the complex pedagogical conditions Development of creative abilities junior schoolchildren Through the organization of classes in folklore. 4. Develop the thematic lessons and on the basis of your own experience to identify and substantiate the forms and methods of using folklore in the lessons. ...
...; C - When upbringing and learning, the balance of values \u200b\u200bof cultures of various ethnic groups is established. Some teachers (J. Frankash, J. Banks) emphasize the danger that the polycultural education with his focus on a polyethnic, polyras society will strengthen and will retain the distance between ethnic groups, the disunity will encourage. They believe that the correctly implemented ...
The question of the specifics of the gifted in different periods of development does not always allow sufficiently reasonable to use various educational technologies, which is especially clearly manifested when working with mentally gifted children preschool age. It has already become typical to create for mentally gifted preschoolers of mini-gymnasium, mini-lyceum, etc., where children of preschool age ...
Position. Repeat 8 times. Complex IV 1. Perform running with advance, back, with turns, with changes in traffic directions. 2. Jumping through a long rope: in turn, at the same time 2-4 people, bending legs, on one leg. Run through the rotating rope and so on. 3. Stand down to each other, the legs apart, take the slope towards each other, flashes and touching ...
Chuvash folklore as a pedagogical phenomenon.
Education and training exists in the people as many centuries as the people himself exist with him, grown with him, reflected in itself the whole story, all his best qualities. Each people seek to convey to the future, as Gumer Bashirov said aptly, his brightest star, the most expensive spiritual wealth - the centuries accumulated wisdom.
Native words, native songs, native patterns are the brightest stars of the Chuvash people, his most expensive spiritual wealth. The beauty of words, songs and embroidery creates an interesting harmony in the Chuvash system of aesthetic education, which is the contribution of the Chuvash people into universal aesthetics and pedagogy.
The people had its own system of attachment of the younger generation to the beautiful.
Its characteristic feature is in the close relationship of aesthetic education with labor. Aesthetics created in labor was one of the most important means of developing a person. The content of aesthetic education includes the development of the ability to understand beauty in the surrounding reality, the development of aesthetic taste, to the permanent generation of creative skills and skills in the field of excellent, strengthening the unity between the aesthetic development of children and their moral growth, mental education and labor preparation. Children already at an early age are able to aesthetically perceive the beautiful in nature, games and folk art.
They show great interest in everything that attracts their attention. Countertilers, spectatives, fun, songs, poems, fairy tales, pleasant harmonic color combinations, delivering to children joy, develop their ability to perceive beautiful. One of the most effective means of aesthetic impact on children was always oral folk art, first of all its most complex genre - fairy tales.
In fairy tales, the children heard the sayings and proverbs, riddles and questions on the smelter, a lot of places in them were also the songs that were remembered by children and could be performed separately. In very many fairy tales, the beauty of nature is described, the beauty of the girl and good well done is mounted, the accuracy of everyday life, hard work is approved, heroic warrior struggle with dark forces, hostile man.
Fabulous plots penetrated the games of children, fabulous characters found their incarnation in toys. Thus, fairy tales seems to synthesize the weight of the means of attaching children to the beautiful and, revealing the role of each of them, determining the place of each means in the system of aesthetic education, as if their value in generalized form 5 14. The tale is extremely quickly imprinted in the memory of the child with all its picturesque parts and coverage of expressions.
Peculiar poetic speech turnover in fairy tales enhance the aesthetic effect on children. Many fabulous characters have a constant epithets of PMR PIchm Khmel, TEHMR PIchm - Tych, Tilm-Tus, Ypa-Utaman, Kashkgg-Kashaman, Kikirik-Avtan, Zil-Urham, Khura - Snown Harad, and others one cheek - Sun, Other - Month, chanterelle-girlfriend, Bear Ataman, Wolf-Kashaman is not Pozhan Kikirik-cock, wind-Argamak, black cow-tail, like a snake, etc. Such epithets contribute to the disclosure of aesthetic images of the heroes of fairy tales.
In the characters and behavior of the fox, the bear, the wolf, dogs, cats, etc., the human friends and friends are embodied, of course, human characters, but at the same time in fairy tales it is narrating about the habits and the peculiarities of the natural life of these animals in the most content Their aesthetic images. Naturally, the latter is easier for children in early age, and with age they begin to comprehend and first that, in turn, increases the educational value of fairy tales. The image of fairy tales facilitates the aesthetic perception of their children.
The hero is usually very bright and abandoned by those traits of character, which bring it closer to the national character of the people of courage, hard work, wit, etc. These features are revealed in many events and different positions. Chuvash has fairy tales, whose special purpose is to edit the listener. These are such fairy tales that could be called Puzchmrlm - the Tale of the grandfather of Myrtofan's fairy tale, as his name was Sarmante, and others. And Wamz-Hirrrismr - endless, like Russian fairy tales about a white bull or the Popovsky dog.
For example, one had a smart cat. She died. The owner buried her, at the grave put a memorable pillar on the grave and wrote a smart cat on it. She died. Her owner buried her, on the grave I put the SUP and wrote on it one had a smart cat and so until the listeners with laughter and noise would not lose the story of the opportunity to continue the fairy tale.
There are many similar fairy tales, and the skill of the narrator is that in various variations of intonation as long as possible to maintain interest in this fairy tale, although deprived of meaning. However, in the manifold, fairy tales of various genres and such fairy tales acquire a certain meaning as a means of aesthetic effect. The role of short fairy tales about animals in aesthetic education of kids is increasing that they have chuvash have long been accompanied by shades miniatures. Sometimes, peculiarly dramatized small fairy tales have been overgrown into puppet performances with the participation of children themselves.
If in the younger age aesthetic education was built on a consistent and systematic perception by the child of small, but bright and figuzzles about animals, household fairy tales and jokes, then for older ages, large and complex fairy tales are used about unknown distant areas, about the life of other peoples, etc. P. Proverbs and sayings performed with effective means of belief in moral education.
The elders, chatting with the children, often spoke to the proverbs and sayings. For example, proverbs about politeness and a valid attitude towards the elder watt Cursan, Zmlmka Il - see the old, take off the hat, Wat Zynna Hirmz Ana Kala - Do not lose the old person. Modesty is needed to every person CHVNA AN MUCHTA - Sana Zynsem Mukhtachchg - did not hop himself, let people praise you, Algk Patmnce Purgh Pur Chukhna Tpekele Kaisa Larmazm - When there is a place at the door, do not sit on the front benches.
Friend, comrade should be honest, a good man. Therefore, young people are given advice to Ural Hyzgn An Kai or Usalgn YMRN AN PUS, theses - do not follow the scoundrel, Usaltant Tar, Surg Patna Pyre - run from bad, go to kind. Proverbs and sayings that determine the behavior of young people, a lot of many.
They are set out the requirements for all parties to the life and activities of young people. In the Chuvish, the mystery is called Tummalloy Yuma, the Sutmalli Yuma, which means literally a fairy tale, requiring a deposit, the word, beyond which, if not unraveling, will follow. Sale is a punishment for the inability to solve the riddle of the appointment of the groom or the bride from the world's most unattractive. The riddles of people, their lives and death, youth and old age certainly contain material, indirectly calling young people to improve the personality of what you want - you can't buy what you do not need - you can't sell.
Mysteries are smart, high ethical, many carry moral idea. Accordingly, they influence mental, aesthetic and moral education.
Children and young people were widely used during games, holidays and recreation, in the breaks between the case. Adults in their medium almost did not use, the riddles for them were a pedagogical agent necessary in raising children. The aesthetic perception of fairy tales, mysteries and proverbs, their expressive means, the brightness of the language of the narrator enriches the vocabulary of the educational vocabulary, makes their language expressive.
Thus, the effectiveness of the aesthetic effects of the works of oral folk creativity on children depends on many reasons, among which the first place belongs to the teacher's ability to select the material, its ability to properly furnish the very process of telling the use of visibility, to express him to expressively, Finally, his ability to attract children themselves to making elements of games and dramatization into this process of telling, i.e. Ability to rely on the creative activity of children.
The aesthetic education was facilitated by the life of Chuvash and household items, household decorations, wooden dishes, embroidered towels, patterned tablecloth fabrics and covered, etc. The observation and perception of children's household items was an effective means of aesthetic education.
Teenagers, children began to take part in the manufacture of various jewelry for the house, the girls helped in the guidance of order in the gloa, soaps, cleaned, whiten, etc. The girl from six to seven years old began to train embroidery, showed the simplest types of seams, they were taught to reset the drawings.
Seven-eight-year-old girls began to knit lace, socks, stockings, gloves and mittens, which included elements of a national ornament as an indispensable component.
An artistic flair of girls was manifested in their design. But the most efficiently the development of this alien, naturally promoted embroidery.
Especially embroidered a girl. Coming out married, she almost did not have the ability to make embroidery, except for those rare cases when she seiled her festive shirt or simple drawings adorned children's clothes. Therefore, the Chuvash girl sought to make so much embroidery to marriage so that it was enough for life. The wedding was literally an exhibition and a public bride art art. At the wedding, embroidered products were hung everywhere, objects of patterned textile, etc. Numerous audience critically evaluated these products.
Boys with a national ornament got acquainted mostly in contemplatively observed, as their peers, senior, mother embroidered. If the embroidery of girls from the very beginning wore a business, so to speak, the character, the boys used the ornament only in the design of toys, with the exception, maybe ornamements of the lapes. In boys' games and toys, burning, cutting, drinking various ornaments. It was a considerable place they were decorated with toy carts, harming, mill, etc. Cutting and drinking were male embroidery, they were taught the boys senior brothers or father. Songs, along with embroidery, were the most effective means of grafting the children of love for the beautiful.
Leading Chuvash Scientist, Ethnopedagog, G.N. Volkov, characterizing Chuvash traditions in aesthetic education, emphasized in the folk work of judgments about beauty almost no. The people sang beautiful songs, created beautiful tools of labor and clothes, beautiful people were beautiful.
The beauty of the people appreciated in the case, in action, in the reality of the words about her, it was not enough to understand and feel.
Beautiful - not an end in itself, it is an integral part of the life of the people. The Chuvash folk song is undoubtedly an invaluable musical and pedagogical material reflecting in its content the historical synthesis of moral and aesthetic for centuries. It is a unique unity of the artistic form and moral and aesthetic content.
The value of the Chuvash People's Songs we see in its truthfulness and depth of content, in the expressiveness of the form. The focus of songs - a person in all richness of his best moral qualities, personifying the ideal of the people, and their aesthetic pattern is manifested. In the Chuvash folk song, such human feelings and emotions are expressed, the empathy of which morally elevates and enriches the person.
And this always finds an understanding of a different listener, which largely contributes to the manifestation of its educational impact. From an early age, the kids heard the songs sang a mother, sicking the child, sister sister, removing his hut, sang grandmother, sitting behind a bark, sang fatherly father for any work.
There were a lot of different songs performed in the process of work. There were a lot of youth songs Horovodnaya Vaig Yurriem, worst Ulah Yurriem. Songs that were performed on the Holidays of Youth Surhuri, HMR SGRI YURRIEM, etc. Selo Gotna Jurry sang at the weddings of Tui Yurri, Salma Jürri, ZMNM HGTU JURI. Children could not pass by this big song wealth.
Imitating the elders, they performed some unearned songs, sang their children's songs. An early acquisition of children to folk song creativity instilled in them to their native melodies, contributed to the fact that the Chuvash people became musical. Children's songs are usually associated with games, rounds. These are peculiar games contest with dance movements, with improvisation, so characteristic of real folk arts - it was in the customs, in the traditions of the people.
They are most clearly reflected by the national characteristics and the complexity of the national nature of the word, music, action. With pedagogical positions, the value of the game in their teams is that they bring up a feeling of beauty, pride for this beauty. One of the bright holidays is not only for adults, but especially for the children was a wedding as a rite in which songs, dances, games were performed by everyone.
Children were raised in the songs of redemption for the bride, and, probably, thanks to the presence of children at the wedding, the atmosphere was special - festive-gaming, with jokes, fun. At the same time, the children sang their songs, children's, improvising on the course of action. And adults have encouraged them, encouraged with small gifts. The scope of the use of traditional children's folklore was not limited to a childish environment. Four from Chuvash had its own people's system of musical education, which first of all previously assumed the recruitment of children to the song wealth of the Chuvash people.
It was laid in a family, where, as a rule, all sang and the song was a kind of moral beginning of the formation of a person. The famous Seven Commandments of Education in Chuvash are surprisingly fixed in folk songs that surround children from an early age. Among them are those that are fulfilled by the children themselves, that is, the children's folklore actually and what they transmit, inspire adults, but not as directly directed pedagogical effects, but in musical form.
The topic of hard work, health, mind, friendship, kindness, honesty, chastity sound in many folk songs. The work as activities often wore a collective nature, so its beginning and completion was furnished solemnly, with decoration clothes, song, dramaturgy. Cold songs Nimene to help in the children's artistic environment sound performed by both adults and children. Health was considered the main good in the life of a person.
In Kazan city, paper is valued, in the Simbirsk-town belt appreciated on all white light What is valued? Good health is very valued! There are quite a few songs in which they are specifically stated about the mind, about morality. The songs are invaluable in the mental education of the younger generation on the one hand, they call for mastering the rich intellectual experience of workers, and on the other, represent the material for thoughtful, reflections, enrich memory information about the surrounding reality.
The main theme of the packaging songs was the relationship of people, friendship forever, and this allowed a person to feel protected and at the same time strong. Children had these songs, although they did not sing them. High moral examples of the attitudes of the elders to their relatives and friends were always enlarged by poetic content of songs.
Oh, how hard, oh, how hard from the Volga stones get it. Oh, how hard, oh, how hard it is to part with natives. Lullabous songs opened the child the world of kindness surrounding his people and items. They are designed to a baby, sings them mostly mother. Lullaby pedagogy is the most natural-like pedagogy in the entire history of mankind. In a simple lullaby song, the mother told about the homeland, about the importance of labor in everyday life, told at ease, in surprisingly poetic form, without any edification and moraling.
In the same song, we comforting a crying child, sicking the cradle and sentencing that the mother left the berries and bring berries, the father went to the bazaar - will bring Kalach.
G.N. Wolves, exploring the problem of the pedagogical effects of Chuvash folk songs on children, allocated two points selection of songs by the children themselves - natural selection and selection of songs for children with educators, adults - pedagogically appropriate. For children, there were especially attractive songs, the distinguished signs of which are funny, rhythm, fascinating, funny, perky, comic songs. People even in difficult living conditions have protected children from sorrowful thoughts, tried to keep them away from social disasters and social evil. Russian musician and ethnographer V.A. Moshkov in his works about the peoples of the Volga region wrote that Chuvashi, how he seems to him one of the most musical peoples.
From Chuvash he did not come to meet a single person who would not sing his native songs 5 \u200b\u200b20. Therefore, one of the main artistic advantages of the Chuvash people are folk songs, the manner of their execution, folk musical traditions.
And the folk musical traditions of Chuvashi diligently transmit from generation to generation as the cultural memory of the people. The songs of their village, their parents are the faithful means of knowing life, they reflect life in all its manifestations, but simultaneously affect life, changing it this is one of the main features of folk art in general, the idea of \u200b\u200bthe transformation of the world. This feature of music, understood since ancient times, its educational significance and took place as a basis in the folk system of musical education.
Songs, as already mentioned above an effective means of aesthetic effect on the younger generation, and it is not only the beauty of the poetic forms of songs, but also in the beauty of their content they called for work, to beautiful actions, moral behavior, etc. In the song, the mind and poetry are not going to sing nearby - so blood will come, not to say - so the language will become stupid peasants. The song raises the vigor of the Spirit. It nourishes folk wisdom, and a bird twitter.
A special place in the upbringing of the younger generation is occupied by the actual youth songs - dance and crying brides. Rarely dance songs were performed in the room, they sang in a meadow or edge of the forest, accompanied by dances, smooth movements. The people always believed that the songs develop the voice, expand and strengthen the lungs to sing loudly, it is necessary to have strong lungs, the ringing song is expanding the chest, i.e. The words of songs, and the conditions and the nature of their execution contributed to improving health, the development of hard work.
In the crying of the Chuvash Bride, it was necessary to have its own, intimate, expressing personal experiences of the performer. For many hours, the girl, without repeating, sang about his life. The children were heard at weddings at weddings, and he made an unforgettable impression on them. The girl himself was preparing for such independent work, in childhood - in the spectative games, gaming preludes, songs, then - on the gatherings, in the dance, etc. With all the variety of funds of folk pedagogy in it, everything is thought out, everything is in place.
The stupid, random is discarded - the millennium there is a natural, intellectual, aesthetic and ethical selection of rates of education. The song in this row of funds occupies a special place. She sing everything from Mala to Velik. Each age corresponds to their songs. She accompanies a person from birth to death. Impacting a sense of man, it simultaneously affects his consciousness and behavior.
That is why her with a complete base can be attributed to the combined means of folk pedagogy. A sense of love for the Earth, on which a person lives, the desire to make it even better and more beautiful, a sense of belonging to a certain group of people, folk music is educated to their people. There were no other nationalities of hostile feelings to people who had no other nationalities of hostile feelings towards people. These feelings were completely objectively in the nature of the nation itself. This comes in a song who would get next to me, I would have pretext for myself. The historical past of the Chuvash people, his active role in the history is reflected in the historical songs that have come down to us since the existence of the state Volga Bulgaria.
Neighboring peoples of Russians, Mordva, Bashkirs - Having in their folklore, the historical song epic Times of the Mongol-Tatar yoke influenced Chuvash historical songs, even some of them may be a translation from Russian songs, first of all, this refers to the songs about Tatar bow.
But, despite the community of plots, images and genres, etc. Each people had their own characteristics in the reflection of life in the folk consciousness. If, for example, for comparison, take the songs of Pugachevsky Time Chuvash Narodnaya song, you are not no shuma, the forest and the Russian folk song are not the noise you, Mati Dubravi. In these songs, the plot, images, melody, words are similar. For comparison, we give the texts of the beginning of both Chuvash songs are not the noise you, the forest, do not go go, the forest, restlessly the soul is not very disturbing the translation of G.F. Yartrat Russian is not a shuma, Mati, Green Dubrava, do not bother me, well, youth, Duma Duma. Many common in the early songs, but, of course, it is necessary to assume a special, individual, reversible through national psychology, national character.
Therefore, there should be no opinion about the simple copying of Chuvash historical songs among Russians. They probably arose in the joint living environment of Russian and Chuvash, or joint activities. It is impossible to ignore the fact that the Russian man from Chuvash was respecting, the proverb of Vyrgsl Zyn Urghal is not Russian, the Russian man is different, i.e. I got the best human advantages, formed - Translation N.V. Nikolsky 21 79. An example of another genre of the oral musical and poetic creativity of the Chuvash people - Chastushki, also a convincing confirmation of mutual influences, contacts in folklore of different nations.
A chastushka is improvisation on the evil of the day, often reflection of instant life situations. Place of their execution, boring-gatherings, folk holidays.
If we compare the metrochrome, the shape of the poems of the Russian and Chuvashsky folk songs, here we see a huge difference Feature of the rhythm of Chuvash folk songs. Approximate size, rhythmic tightening, while the size of the clock is defined, in a special way organized rhythmic endings of phrases All this requires execution in dance , rhythmic playback on impact instruments. But in the chastings of the Chuvash people, we see similarities in the form, in the composition with Russian chastushkami and with the children of other peoples, almost always these are quarters.
Researcher Chuvash Chastushka Takmak E.S. Sidorova also notes the parallelism as a common line in the chastings of different peoples, where, for example, out of 4 lines 1-2 - about nature, 3-4 - from human life or 1-2 lines - about the subjects of life, 3-4 - From the life of a person.
Garden-garden, a berry garden, the berries of the stuff rose. Eh, rose, from red steel. Such parallelism makes it possible today to compose a chastushki with children to show much more fantasy, a chastushka becomes more poetic form of folk physician. In a children's environment, especially in adolescent people are popular in classrooms, cabbagers, music lessons. Their execution and an essay represents a kind, according to G.N. Volkov International Art Experience. Artistic experience, luggage of artistic impressions of children, including folk art, make it possible to use them in educational purposes due to special emotionality, images not only content, but also forms and methods of execution.
Collective theatricalization, game, adversaries highlight personal qualities of participants through a system of relationships in activities. The meaningful part and form of games create raising situations in which children fall. Thus, traditional folk art becomes the most important factor in the education of the younger generation.
So, all of the foregoing makes it possible to practically use Chuvash folklore material as a pedagogical agent for educational purposes. Educating love for native Chuvash culture, to folk art. Understanding the relationship of cultures of different peoples through the knowledge of the historical past Chuvash people. The use in the educational work of educational, pedagogical possibilities of folk musical traditions is difficult to overestimate.
Studying, the development of folk musical traditions is the path to the formation of a creative person who can comprehend the beauty and incredit value of the spiritual culture of the people, to understand and evaluate the contribution of each people to the treasury of universal spiritual culture.