Work-thinking for what you need to study the works of oral folk art.
Several dozen years old artistic director of the Folklore Theater "Radeyushka" Zinaida Popova Dedicated to preserve and revive the folk traditions of the Russian North.
"The" Soul of Russia "premium is the merit of all choir," she believes. - We are one family in which all each other is supported. In our theater there are women who came 30 and even 40 years ago. Comes to us and young people, which we are always happy. In general, I believe that those who sings folklore and love folk songs will definitely grow good people. "
Where are the traditions?
Anna Necha, "AiF-Arkhangelsk": Your theater acts in Russia and abroad. Where does the viewer take better?
Zinaida Popova: Of course, in Russia the viewer is better accepting. I remember, we performed in Germany, so the Germans everyone wanted to transfer songs to hear, and wondered that we were more and more about the sad. When we spell in Russia, we have the second half of the concert dedicated to the fact that we sing songs along with the audience. At these moments, people even cry. They lack a folk song. They themselves, on TV, often, even in Russian, it is difficult to hear the song, and not that popular. I remember someone said: "When the people stop singing, then the nation disappears!" And I fully agree with that. And people now have just become less singing. Remember how before the table was going? Be sure to start the song. It was very closer and united. And now, where is this tradition? It is necessary to revive the customs of ancestors, return to their roots. Our Russian song is the soul of the people. Hearing it, you can imagine the whole life and understand.
- On the streets of the city, we constantly see the posters of the metropolitan stars. Why is there no poster "Radyushka"?
We give big concerts a year twice a year, we go to schools and kindergartens. We are in demand even without advertising. That's a pity that today there are no large platforms for amateur in the city. Although, we have already promised to allocate such, it remains to wait.
By the way, we have another problem. So, for example, we often sing in "Small Korela" on the holidays. People are suitable, asked to fulfill songs, for example, "Victory Day", and we can not. Russian author's society allows you to sing only folklore. With such prohibitions, you can stop singing at all. And you need to do something with it.
Concerts "Radeyushki" always collect full halls. Photo: from the personal archive Z. Popova
Fur coats instead of concerts
- Here we all talk about mass sports. And what is needed to carry the culture into the masses?
First, you need to communicate with people to be closer to them. For example, it is important not only on a big stage, but also in small halls, where you find yourself face to face with the viewer. Previously, we had such concerts in the "Marfin House", and now they trade fur coats there. It's a shame. Here to take the same villages. People just have nothing to do. There is no work, cultural life too. The clubs have very bad financing if there are some kind of mugs, they are paid. And with the art, there is a beautiful, but it is simply not implemented. So it turns out that people run from the villages, and those who remain often just start drinking.
It is said that the greatest times for culture were the 90s, when many lost viewers due to the fact that people moved culture to the background. Have you felt it on yourself?
In fact, at any time the viewer stretches to the spectacle. I do not remember that we oppose empty halls. At our concerts there was always the people, including in the 90s. Even in the deaf villages, we collected halls. And many, here, for example, the 80s are called stagnant, and I call them "golden". How much we travel around the country! Almost everything Golden Ring comes. Were in Kaliningrad, Syktyvkar, Minsk, etc. And today our choir loves and perfectly take everywhere.
Dossier:
Zinaida Popova was born in the village Udimsky Kotlassian district of the Arkhangelsk region. Singing and dancing began to get involved in childhood. Arriving in Arkhangelsk, he entered the studio of the Northern Choir. Since 1979 is the artistic director of the Radyushka Folklore Theater.
Crivokoneva Alice
Montessori Center "ourselves with Usami", Nizhny Novgorod
Montessori - teacher.
Russian folklore for children
Russian folklore for children - what does it represent?
Russian Folklore is a special branch of the culture of the people, which reflects the ideals and the life of the Russian people transmitted from generation to generation. The Russian folklore is a rich source of the most diverse training material that distinguishes colorfulness and originality along with accessibility, which ensures non-permitting interest for children and easy remembrance.
Russian Folklore for Children - Touching Traditions
Now more and more people come to the realization that happiness and success are not over the seven seas. The words of the Motherland and the reportation no longer sound like an empty sound. We again gain a sense of community and pride from belonging to the United Russian people. In this regard, we restore and begin to treat the legacy of Russian culture in a new way, old customs and festivals, artistic fields and applied arts. Classes of Russian folklore with children allows you to instill love for your native culture since childhood, as well as convey the inherent ideas about eternal values: good and justice, beauty and loyalty, courage and hardworking, which were reflected in oral folk art. Proverbs and sayings carry the wisdom of the Russian people accumulated over the century, which children absorb easily and with pleasure thanks to the brightness and pity of the Russian folklore, as well as the joy that he carries in himself.
Russian folklore for children - exceptional value for child development
The advantages of Russian folklore classes for children's development are difficult to assess fully. Let's try to list only some of them:
Russian folklore classes raises an artistic taste in children
Develops interest in the world around the world and the basics of being (the change of the seasons, the riddles of the animal world, the patterns and the phenomena of nature, etc.)
Allows you to evaluate the wealth of Russian and culture, and also contributes to the development of speech due to a variety of rhymes, sayings, songs and patter
Riddles and puzzles lay the foundation for creative figurative thinking
Moving games contribute to harmonious physical development.
Russian folklore for children - touching the origins that gives joy!
The Russian folklore in kindergarten not only lays the idea of \u200b\u200bRussian culture, but also gives the sea of \u200b\u200bpositive emotions! We offer our pupils to feel the history and traditions of the native country during entertaining games and gatherings under the leadership of a delightful teacher, who recreates the atmosphere and the situation of Russian villages, leading children to a fascinating journey through the endless expanses of Russian folklore! Entertaining games that were previously known to any rustic boy, gatherings with tea and bathers at samovar, riddles and poems, game on wooden spoons and other tools of folk creativity - all this and much more will give your child love for native culture and belonging to its origins !
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folklore National Tradition
Introduction
1. The story of collecting and studying folk artistic creativity
2. Collective and individual start in folklore
3. Stability and variability of folklore works
4. Problems of tradition in modern folklore
5. Preservation and development of folk traditions
6. Classic folklore in modern life
Conclusion
Literature
Introduction
Folklore is an integral part of each people, and it is manifested both in oral poetic form and in spiritual. Over the course of many centuries, various folk genres, rites, customs, beliefs, beliefs were created and transmitted from generation. Nowadays it becomes more difficult to find those people who would tell about it all about it; who remembered how their ancestors lived; What songs sang, etc.
Modern folklore centers are engaged in activities aimed at rebirth, preservation and development of Russian folklore, folk traditions, crafts and crafts, distribution and popularization of works of folk art.
In modern socio-cultural conditions, the implementation of the potential of Russian traditional culture contributes to the positive dynamics of spiritual and moral development, which manifests itself in the enrichment of the value orientation, the growth of ethno-artistic interests and cognitive activity, increase the level of intellectual development, the development of the artistic and creative abilities of children and adults.
The life of children is closely related to the life of adults, but the child has its own vision of the world due to age psychological characteristics.
The judgment of the child, as well as his practical thinking, is character, first of all, is practically sensual. The sensual nature of the child's body is the first connection that connects it to the world.
All of the diversity of the world, children of younger age are not perceived as adults. Children's thought at first is connected only with concrete images.
The characteristics of the children's psyche determines the choice of poetic images, the whole composition of children's folklore, artistic creativity.
Poetic works For many centuries, transmitted from one generation to another, gradually acquired the content and form, the most fully relevant to the laws of children's aesthetics.
In children's work, there is a key to an understanding of adult psychology, children's artistic tastes, children's creative opportunities.
People's artistic creativity is a specific area that unites the world of children and the world of adults, including a whole system of poetic and musical - poetic, as well as artistic genres of folk art.
The development of vision, artistic vision is the main task of admission to folk artistic creativity.
The child in the world of art should live in two intersecting spaces. One space is children, with his games and children's creativity. Another world of adult art.
Adult art samples are not always available for understanding. And the child should feel the gap that exists between children and adult art. Over time, it develops the ability to react to the emotional tonality of adults.
1 . Historygatheringandstudiesnationalartisticcreativity
At the beginning of the 19th century, the problem of the culture of the people, his spiritual wealth, the issue of public significance of the people's livelihood, acutely faced Russia.
Many researchers appealed to the folk heritage of the people. A. Glagolov, who wrote about the beauty and innocence of rites, revealing the simplicity and naivety of Russian people, attracts the rite of worship of the sun and the cult of the trees of the songs.
Children's fairy tales in a special group were allocated for the first time. In those years, many understood the pedagogical value of folk artistic creativity.
Through the sieve of centuries asked the people their cultural heritage, leaving the most valuable in folk creativity, art fishery, folklore, decorative - applied art.
People's artistic creativity is an inexhaustible source of aesthetic, moral, emotional education.
Folk wisdom, concluded in fairy tales, sweatshirts, riddles, for many centuries, brought up pride in children for the talent of a simple people, interest in the member, expressive word, love for his native language.
2. Collectiveandindividualstartinfolklore
Unlike literature - individual creativity of writers - folklore is collective creativity. However, this does not mean that it does not matter in it an individual start.
In certain genres and in well-known historical periods, an individual start manifests itself quite noticeable, but it is in peculiar relations with the collective start.
Folklore arose in ancient times as mass collective creativity. The early forms of folklore were distinguished by the fact that the collectivity of the addition and execution of works dominated them. Creative personality at that time was still released from the team.
Later, individual talented singers begin to play the increasing role, which in all creativity expressed presentations and views of the genus or tribe, and then the people.
Even in the early forms of folklore, and naturally, even more - in late individual creativity organically connected with the collective and developed on it.
The collectivity in folklore is also manifested in the external forms of creativity, and in its inner essence, and in the process of creating works, and in their execution.
It is expressed in the fact that the creators and performers of the works are based on the overtook experience and tradition and at the same time contribute to the work of new features and details, adapting it to the plot, images and style to specific conditions of execution.
Works can be created by both a team (chorus, group of persons), and individuals - singers and fairy tales.
If they correspond to the demands and tastes of the team, the people, they begin to exist in its environment, executive in the choir individual singers.
The collectivity of the folklore is expressed in the fact that individual folk works are recognized as the general property of the people, they live long, are transmitted from generation to generation.
But each performer can change the work according to his creative intent.
In various genres of folklore, collective and individual starts in the creation and execution of works are manifested differently: if the songs are usually performed by the choir, collectively, then epics and fairy tales are individually.
If the text of the conspiracy is very stable, then the text of the exemptions is very moving, it is usually largely improvised, it is created as if re-on new material.
But this individual improvisation is carried out by long-standing schemes, based on collectively developed artistic expressiveness.
Chastushki usually represent works that are composed of persons known on the village. They are more manifested by an individual beginning, rather than in the works of other genres of folklore.
Individual start, as well as collective, takes place at all stages of the development of folklore.
It takes a diverse forms of expression and detects a tendency not to a fuss, but to strengthening and activating in the process of the historical evolution of folklore.
3. Sustainabilityandchangeabilityfolkloreworks
Traditionality in folk artistic creativity is expressed in the relative sustainability of verbal text, pending, the nature of the execution, paints, the transfer of works, as a rule, without significant changes from generation to generation, preservation during the centuries of works with certain plots and heroes, forms and expressive means.
Tradition, as well as the team of creativity, is peculiar not only to the verbal folklore. It is inherent in other types of folk creativity - music, dancing, thread, embroidery.
The tradition has its own socio-historical foundations and is due to important life circumstances.
These conditions and circumstances are as follows:
Firstly, folk creativity originated in the primitive community, when there were very sustainable social forms of life, folk life and ideas, which determined the stability of the folklore.
But, in reassuring at this time, the tradition was supported by the well-known resistance of life forms and in later periods of history. In connection with the changes in the nature of life, the tradition gradually weakened.
Secondly, the most important features of real validity are deeply reflected in the works of folk art, the important objective qualities of man and nature are imprinted.
This can be said not only about proverbs, the life generalizations of which are preserved in centuries and will still be maintained, but also about songs that characterize the spiritual world of man, its universal properties, thoughts, feelings and experiences.
Thirdly, folk creativity embodied the principles of folk aesthetics, reflected the folk artistic tastes that were developed by centuries. They are valuable in that the objective laws of beauty are embodied.
Fourth, the works of folklore, significant artistic achievements. They satisfy folk ideological and aesthetic requests and serve as an important part of the spiritual culture of the people for a long time.
The conditions listed above serve as the soil of traditional traditional creativity, the great sustainability of folk works.
4. Problemstraditionsinmodernfolklore
Among the many problems of modern folklore, the problems of traditions are hardly not the most essential and complex. They cause perennial disputes, sometimes turning into organized discussions. However, today this topic cannot be considered exhausted; Rather, on the contrary, the further the development of folklore, the greater the relevance acquires. Moreover, the relevance is not only a theoretical nature, but even more practical, related to the daily lives of modern folk artistic fields.
Traditionality is generally recognized as one of the specific features of folk art. About traditions in folklore, folk fishers there are extensive literature. But there is usually no definition of the very concept of "tradition", different researchers invest different content. Some scientists (V. S. Voronov, V. M. Vasilenko, T. M. Razin) Under the tradition of folk art, they are mainly the antiquity of its images, forms and receptions, the sustainability of their preservation and continuity in the development.
Such a point of view emphasizes one side of the tradition of folk art with the past, its roots, ancient origins, without which it is generally impossible to understand this phenomenon of human culture ...
Absoluting one side of the tradition, some scientists see the traditions of folk art only the past and conclude about the cosiness, the backwardness of this art, the absence of connections in it with modernity. Supported of such views is M. A. Ilyin. Analysis and criticism of its point of view may be subject to a special article. In this regard, it is limited to only the comment that M. A. Ilyin understands its private moments under the tradition: plots, motifs, techniques, forms, flavor works of specific folk fishes, outside of the organic whole, which merge all these particular in a certain time and in Each of the crafts, creating distinctive features of local folk arts.
Such a narrow understanding of traditions could not not lead to their denial as a way to which you can go "ahead with back turned head." Based on the incorrect understanding of the development of art in general, only as a progressive, evolutionary, mixing such different concepts as the people's and nationality of art, his nationality, Ilyin comes to the wrong conclusion about the conservatism of the art of folk crafts, trampling in place, about the only way for them - absorb artistic industry, leveling in a single so-called "modern style" of decorative and applied art.
Similar views caused a reasonable criticism twenty years ago. It occupies a lot of pages in the works of A. B. Saltykov, an outstanding theorist of Soviet applied art that made a great contribution to the study of traditions6 issues. Saltykov understood the tradition as a dialectical phenomenon, associated not only with the past, but with the present and future. He constantly emphasized the direct connection between traditions with modern Soviet art, analyzed the movement and development of traditions, which, in his opinion, are not concluded in some formal signs of art of this fishery and not in the mechanical amount of them, but in the integrity of the figurative artistic system of the fishery and its historical development .
The thoughts of Saltykov are relevant about the need for a historical approach to the concept of style in folk art. "... every style," he wrote, "there is an expression of the spiritual state of the people of his time ... People do not stop in their development ... It is constantly changing ... and with these changes inevitably linked about artistic style changes."
The correctness of its theoretical positions in matters of tradition A. B. Saltykov brilliantly confirmed on the example of practical work with Masters, Gzheli.
Nowadays, the ideas and thoughts of A. B. Saltykov are repeated and developed in a number of articles M. A. Nekrasova. She fairly believes that the tradition is deeply meaningful that it is deep internal phenomenon. The basis of tradition is the right attitude towards the national heritage. Heritage - all the art of the past. In the tradition, everything that has increasing value is passed. This is the experience of the people, what is able to live in a new way in modern times.
In the broad sense of the word there are no phenomena outside the traditions. Nothing is born in a scratch, without mastering the experience of the past. Tradition - a kind of engine of the progress of culture, those OPGIniques of different sides of life, which are selected, are saved and developing generations as the best, typical, familiar. But traditions are not more than once and for all this, frozen, stationary, not synonymous with the past or similar to the past. The dialectical unity of the past, present and potential future, laid down in tradition, is perfectly expressed in the definition, which gave an outstanding Russian composer I. F. Stravinsky. And although it was based on the analysis of musical works, he expressed the essence of the concept of tradition in its wide and objective content.
There are no traditions in general, but there are traditions of a particular sphere of human activity in a particular people, in a particular place and in a certain era. Meanwhile, the life and development of the tradition, the specific historical approach to its analysis is often ignored, not taken into account.
Tradition - the concept of multi-layered. Traditions permeate all the phenomena of life, life, production, economy, culture, art, in each area with its specificity in the content and manifestation. There are significant differences in the manifestation of traditions in art in general and in the people especially.
The traditions of collective creativity live in folk art. These traditions were formed for centuries and grinded by many generations of people. The blood connection of folk art with life, labor, by the life of the people led the historical continuity of traditions of popular culture, the formation of not only nationwide, national traditions, but also their local local manifestations in peasant work and folk fishery. The traditions of peasant art by virtue of the famous conservatism of household text, a special commitment to patriarchal antiquity developed slowly, evolutionally. Many of these traditions went into the past along with the living conditions and living conditions, for example, the traditions of the ancient Slavic mythology, who gave life to the images of many types of peasant art and a whole layer of the ornament of folk embroidery.
Many factors have influenced the creation of the style and formation of traditions of art of the fishery, some more indirectly and, as if unpacable in the external manifestation, others are clearly and directly affecting the nature of the art and the structure of the artistic image.
A specific historical approach to the analysis of all the factors involved in the creation and development of national fishery shows that their role at different stages of the development of fishery and at different times could be ambiguous.
5. Preservationanddevelopmentfolkloretraditions
The transfer of craft skills from generation to generation, the creative process of manufacturing products under the leadership of adults contributed to the consolidation of positive emotions, the desire for the knowledge and mastering the specifics of craft skills, the formation of initial ideas about popular artistic work.
The concept of heritage, traditions in learning artistic creativity has always had and is still important. The most valuable is the product of labor that accumulated not only individual creativity, but also the hereditary experience of previous generations learned in the process of practical actions.
The most stable and viable part of the culture is tradition, opposed to innovations, on the one hand, and enriched with them, on the other. In the interaction of tradition and innovation, multiple traditions do not die, but gradually modified, taking the kind of innovation. Traditional culture is a sphere of the concentration of a certain collective experience of past and the birth of innovations, ensuring the adaptation of traditional cultural standards to the changing conditions for the existence of the ethnic volume. Thanks to innovative
elements occur in the tradition.
Traditional folk culture is not only the basis for the spiritual unity of the people, but also the cultural and educational institution of the modern personality. It retains a unique property in modern life. In traditional culture there are no creators and consumers.
The creative potential laid in traditional culture is used in modern society in working with children and young people. It is the traditional culture that can become a means of adapting a person to the controversial life of modern society, where it has long been the need to create a leisure space for the transfer of socio-cultural experience, built according to the principles of the traditional (place of generations). It is not about creating, for example, new folklore groups focused on the stage incarnation of folklore, but on the creation of inter-served associations, where the folklore becomes a means of communication and self-realization, where the folk environment is created for joint holidays. Despite the fact that the traditional forms of culture in the modern world are deeply transformed, nevertheless, folk creativity remains an inspirer of modern seques in all areas of culture.
As part of the traditional culture of the Russian people as spiritual integrity, a number of peculiar regional traditions are developing, the existence of which collectors and researchers pay attention.
Studying and maintaining regional traditions, the search for new ways to broadcast traditional culture in modern society is relevant in the field of culture and education.
Within the framework of projects, seminars on the study of folklore in schools, international scientific and practical conferences are organized annually and stages.
In the process of implementing the project, a systematic description of the existence of verbal and musical genres is applied.
As a result of the research, a description of the active genres of folklore is carried out, the active genre composition of the verbal folklore is distinguished in terms of its adaptation to the age-related features of students and educational standards.
The study of regional folklore implies a continuous comparative analysis, which helps to develop not only figurative, but also rational thinking. Compliance with the principles will allow to implement the unity of training, upbringing and development in the development of popular culture in its regional manifestations.
Acquaintance with the traditional culture of peoples living together on one territory raises respect for other cultural traditions. With the help of folklore classes, a folk-ethnographic medium is created, there is a continuity of cultural traditions in conducting people's weight holidays together with adults. An understanding is brought up that the surrounding people are carriers of folk tradition in different amounts of its content.
Comparing the traditional and modern models of folk holidays, it is possible to notice the design and transformation of holidays into a mass spectacle, the form is gradually changing due to the substitution of attribute rite components to modern; The content changes, a new poetic-mythological background of the rite, a new symbolism is born; The form and content, and temporary canons are transformed at the same time, which leads, in fact, to the birth of a new phenomenon. The modern model of traditional calendar and family and household holidays becomes secondary.
For various centers, it remains important to understanding and transmission from generation to the generation of traditional folk culture; development of youth folk movement in the field (in all directions); connection of efforts of ethnographers, philologists, musicians; Attracting interest in the traditional culture of professionals and folk art lovers.
The accumulated and systematic folk-ethnographic materials, observations and generalizations relating to the patterns of traditional culture have not only a narrow-body, but also in common importance.
With the support of the government, a comprehensive program is carried out, aimed at promoting traditional culture.
Festivals remain an integral part of the preservation, study and further development of folk traditions.
The "scientific component" is gradually enhanced, as part of the days of Slavic writing and culture, scientific and practical conferences are held annually.
In the context of globalization, traditional culture is often subjected to attacks as a conservative and inappropriate spirit of time, but it is in it that the basic values \u200b\u200bof the people are concentrated. The traditional experience of generations, an understanding of the essence of traditions, and hence the cultural norms, behavioral stereotypes, knowledge and experience, customs and habits, upbringing, religious beliefs are needed today for transformations both in public and private life. And their faithful interpretation, the correct understanding gives us the path and hopes in the arrangement of modern society.
The problem of studying the factors of conservation of traditional culture refers to the number of integrated and is the subject of research in cultural studies, sociology, ethnography, linguistics, folkloristic and other sciences.
6. Classicalfolkloreinmodernlife
In modern life, people continue to be due to their simplicity, digestibility, the ability to undergo various transformations without prejudice to the content, some genres of classical folklore fairy tales, proverbs, sayings, sending, signs.
Some of them, for example, folk fairy tales, children's lullabies, perform the former role-educational, informative, entertaining. True, if some lullabies, for example, or dining are still transmitted by orally, then fairy tales are usually read by children on books.
Other genres of folklore, for example, folk natural signs, lost their initial functions. In modern conditions, the folk predictions of weather are often not triggered, since the natural environment has changed, ecological equilibrium has been broken. In addition, the forms of absorption and transmission of people will have changed. A modern urban person meets with them, for example, reading a tear-off calendar or listening to radio programs focused on a reminder of traditional folk culture. Functioning and transmitting, thus, folk signs acquire other cultural meaning. In modern ordinary culture, folk signs go into the sphere not even memory, but rather reminders, in the scope of curious. They are retelling familiar, neighbors, but they are very quickly forgotten - until the next reminder.
And in the village, traditional folk signs have largely lost their vital necessity, in demand for the successful management of agricultural work. Here, on the one hand, the need for weather projections is obvious - due to climate change, on the other hand, new signs based on personal experience and observations are being developed. As a result, signs, as one of the forms of popular knowledge, has been preserved, but its content and place in the daily culture of people changed significantly.
They reached our time and quite fullly exist in the ordinary mass consciousness traditional signs and folk superstitions (faith in the fact that some phenomena and events are a manifestation of supernatural strength or serve as a foreshadow of the future). It is difficult to find a person who, at least once in his life, did not say aloud, that salt wanted to the quarrel, it means that someone recalls, to meet a woman with a blank bucket, and the dishes are happily. Signs are a rather bright example of the existence of elements of traditional ethnoculture in modern culture. Household, repeating behavioral situation and accompanying their ordinary comment, signs easily and effortlessly transmitted "by inheritance" from generation to generation.
Conclusion
Currently, a long time has long been recognized as a huge role of musical folk art in the art of each country. His most bright and complete expression, folk art found not in purely instrumental music, but in the combination of melodies with the word - in the song. The song, originating in the most primitive form of many millennia ago, has steadily developed and evolved in close connection with the development of the culture of the people himself, his life, language, thinking, which are reflected in the lyrics, and in heating. A collection of folk songs is the main total of thousand-year history in most peoples.
It is necessary to carefully store the heritage, and takes care of his survival. Keep the treasures of the folk musical culture, to make them accessible to the wide masses of the people, professional and amateur performing teams, provide additional material for composers creativity, as well as for students and students of special educational institutions.
People's artistic creativity helps not only ethnographers to understand the life, culture, life of our ancestors, but also to children who can only represent it.
Love, respect, pride in folk artistic work is formed gradually under the influence of the surrounding atmosphere.
This complex feeling occurs and develops in the process of accumulating knowledge and ideas about the nature of the native land, about the work and relationship between people. In an accessible form, it is necessary to talk about the origins of folk artistic creativity.
Through the familiarization and upbringing of folk art, children get acquainted with the work of adults, they learn to respect him, study the simplest skills and skills; Interest, independence, the ability to work.
The use of various materials, benefits, toys, paintings, works of people's artistic creativity helps perceive and reproduce the most vivid features of the artistic image.
Acquisition to folk artistic creativity and its influence is affected in cases where children depict the world that is known for them from folk creativity.
To fill free time, an interesting and meaningful case, you need to develop the desire for the beautiful, to educate respect for folk traditions, to cultural values.
Literature
1. Bogatyrev P.G., Gusev V.E., Kolenitskaya I.M. and others. "Russian Folk Creativity", Moscow 2000
2. Gusev V.E. Folklore aesthetics. L., 1999
3. Zhukovskaya R.I. "Native Krai", Moscow 1999
4. Kravtsov N.I., Lazutin S.G. "Russian oral folk creativity", Moscow 2003
5. Lazutin S.G. "Poetics of Russian Folklore", Moscow 2005
6. Putilov B.N. "Folklore and Folk Culture." - St. Petersburg., 2003
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Formation of the creative path of Robert Burns and the subject of his works. Place of love lyrics in the work of the Scottish poet. Using R. Burns Folklore Scotland, plots and techniques of folk ballad when creating their own works.
Kokolheva E.N., from. Pelon, Kurchaevsky district
One of the current problems in our modern society faced the problem of studying the native language and literature, oral folk creativity. Do you need to learn your native language, literature, folklore? Yes, you need, because The mirror of the culture of the people, his psychology and philosophy is native speech. It is necessary to teach children to efficiently using the language in a wide variety of areas, it is necessary to study various speech genres. Special linguistic courses on the history of the language may have great advantage, on analyzing the folklore language.
Oral folk creativity is a multifunctional phenomenon. Works of folklore, reflecting the worldview of their creators, the results of their observations over nature, human behavior, relationships of people, represent an interesting source of knowledge of the native language, public life and means of education of the younger generation. In Folklore, you can find everything for the comprehensive development of children. It is shaped, and therefore develops the child spiritually and emotionally, it wakes up in it the imagination, a sense of beauty and harmony, carries cheerfulness. Folklore, as the ecology of the soul is able to solve many educational challenges, it opens up before children the attractive power of a folk word, native language, brings up aesthetic taste. All this gives the first sprouts of understanding our roots - love and affection for the mother, the native home, to the native land. "Mount Muyt - Rodnöy Mom" \u200b\u200b- says the People's Proverb.
Acquisition to folklore, its expressiveness makes it possible to reveal for children those who have established national and universal values, i.e. We introduce children to the global culture, in the origins of which there are always folk creativity. In anyone, even the smallest work, be it a flow, a song, a boom or a folk game - the era, life, national flavor. These small folklore forms, entering the life of children, carry knowledge, cultural traditions of the district - all this undoubtedly raises the taste. Folklore teaches children to understand "kind and evil", to resist bad, actively protect the weak, to show care and generosity not only to people, but also to nature, to understand its condition. Thanks to the study of folklore, native language, children better understand everyday situation, respond to humor. So, entering into the struggle with the leishers, a kimo-watery, a craft peasant, confident in his rightness and victory, hesitated himself: "TE VÖNATS - Danat is emerged by the unazyk, and Mena-Menam Ryll Onazyk."
The practical development of the surrounding world, the fruits of perennial observations, compared to the mysteries and will adopt, the thematic diversity of which indicates the latitude of their authors. For example, before the rain of the cow in the mouth carries home to Travinku, etc. The most important place in oral folk art is occupied by funeral and memorial exemptions (Olllanenez) - the kernel of Komi-Permytsky folklore.
Folk creativity is the process of creating new cultural values \u200b\u200bto the people, embodying them in artistic works. The artistic creativity of the people arose as creativity for themselves, to meet their aesthetic needs. Despite the powerlessness and poverty, Komi-Permian kept and developed their original culture and reported it to the present day. But in the modern school program, folklore shows a little, without regions, a local folklore was not introduced. Before teachers, there is a great task of attaching children to their native language and folklore. It is necessary that a graduate of the National School with pride could say that he is Komi-Permyak and everything will do everything for the prosperity of the district, perfectly owns his native language and folk creativity depending on his inclined.
Literature is the art of the word. But there is another kind of verbal art - oral folk creativity (oral literature, oral literature), or folklore. Folklore has specific features of which artistic literature. The first chapter is devoted to their consideration.
1. Folklore and folklore
The international term "folklore" appeared in England in the middle of the XIX century. It comes from the English. Folk-Lore ("People's Knowledge", "People's Wisdom") and denotes a folk spiritual culture in various volumes of its species.
Folklore is the subject of study of different sciences. Folk music is studying musicologists, folk dances - choreographers, rites and other spectacular forms of folk art - Theaters, People's decorative and applied arts - art historians. Linguists, historians, psychologists, sociologists and other scientists are treated for folklore. Each science sees in folklore what interests it. Ethnology is particularly significant (from Greek. Ethnos: "People" + Logos: "Word, teaching") - science, which pays a lot of attention to people's life 1.
For philologists, folklore is important as the art of the word. Philological folklorism studies a set of oral artistic works of different genres created by many generations of the people.
People's verbal creativity was kept in the memory of people, in the process of communication, the works passed from one to another and were not recorded. For this reason, folklorists should engage in the so-called "field work" - to go to folklore expeditions to identify performers and record folklore from them. Recorded texts of oral folk works (as well as photos, tape recorders, diary notes of collectors and so on.) Stored in folk-
1 Previously, this science was called ethnography. Both term (ethnology and ethnography) are used as synonyms.
larous archives. Archival materials can be published, for example, in the form of folklore collections.
When the folklorist is engaged in the theoretical study of the folklore, it uses both published and archival records of folk products.
2. Specificity of folklore
Folklore has its own art laws. The oral form of creating, distribution and existence of works is the main feature that generates the specifics of the folklore causes its difference from the literature.
2l. Traditional
Folklore is massive creativity. The works of literature have the author, the works of folklore anonymous, their author is the people. There are writers and readers in the literature, in folklore - performers, and listeners.
Oral works were created by already known samples, even included direct borrowing. In the speech style, constant epithets, symbols, comparisons and other traditional poetic agents were used. For works with a plot, a set of typical narrative elements was characterized, their usual compositional combination. In the images of folk characters, the typical also prevailed over individual. The tradition required the ideological orientation of works: they taught good, contained the rules of human life behavior.
General in folklore is the main one. Talentes(artists of fairy tales) sobelniki(song performers), sPORTERS.(performers of the epics), crossovers(The performer of the exemptions) sought first of all to convey to the listeners what the tradition corresponded to. The repeatability of oral text allowed its change, and this allowed a separate talented personality to express itself. There was a multiple creative act, creation, in which any representative of the people could be
participant.
The development of folklore contributed to the most talented people endowed with artistic memory and creative gift. They knew them well and appreciated the surrounding (remember the story I. S. Turgenev "Singers").
Ore Art Tradition was a general foundation. Everyone could take away for himself what he was required.
In the summer of 1902, M. Gorky watched Arzamas, as two women - the maid and the cook - lay down the song (the story "how to lay a song").
"It was in a quiet street of Arzamas, before the evening, on a bench shop at home, in which I lived. The city dreamed in the hot silence of the June weekdays. I, sitting by the window with a book in my hands, listened like my cook, Dorodic Ripple Ustinya, quietly talking with a maid<...> Suddenly, Ustynia says Boyko, but Delivito: "Well, Mashutka, suggest ..." - "What is it?" - "Fix the song ..." and, noisily sighing, Ustinya dies in the patter:
"Oh, and a white day, with a clear sunshine,
Light nighttime, at month ... "
Having groping a melody, timidly, in a low voice sings:
"Restless to me, the girl is young ..."
And Ustinya confidently and very touching the melody to the end:
"All the anticipation of the heart is black ..."
Cumshot and immediately spoke the fun, slightly bragly: "Here it began, the song! I am those cute, teaching the songs, how a thread is tricked ... Well ..." Having silent, listening to the guilty moaning of frogs, lazy ringing Bells, she dextedly began to play and sounds again:
"Oh, yes neither winter blizzard people
Neither spring streams fun ... "
Maid, tightly moved to her, ... already bolder, a thin shuddering voice continues:
"Do not come from the native side
The heart of the news is consumed ... "
"So here!" Said Ustinya, having faced his palm on the knee. "And I was younger - there was something better than the song! There was a girlfriend sticks to the song:" Ustyusha, teach a song! "Eh, and I'll sleep! .. Well, as I am! .. Well, how Next will be? " "I don't know," said Maid, opening his eyes, smiling.<...>
"The larks over the fields sings,
Vasilka-flowers in the fields blooming, "-
pensively sings Ustynia, folding his arms on his chest, looking into the sky, and the maid felt folded and boldly:
"Would look at the relatives of the fields!"
And Ustinya, skillfully supporting a high, swinging voice, a steepe of velvet. Soul words:
"Would take a walk with a cute friend, on the forests!"
King to sing, they are silent for a long time ..., then the woman says quietly, thoughtfully: "Ali was bad formed a song? Almost good" 1.
1 Gorky M.Cathedral So.: In 30 t. - T. 11. - M., 1951. - P. 290-293.
Not all newly created persisted in oral existence. Multiplely repeated fairy tales, songs, epics, proverbs and other works crossed "from mouth to mouth, from generation to generation." On this path, they lost the fact that they had to print individuality, but at the same time they revealed and deepened what could satisfy everyone. A new born only on a traditional basis, while it should not just copy the tradition, but to complement it.
Folklore appeared in its regional modifications: folklore of Central Russia, Russian North, Folklore Siberia, Don Folklore, etc. However, local specifics have always had a subordinate position in relation to the community properties of folklore.
In Folklore, the creative process was constantly flowing, which supported and developed a fiction tradition.
With the advent of written literature, Folklore joined her into cooperation. Gradually, the influence of literature on folklore more and more increased.
In the oral creativity of the people embodied his psychology (men-thawing, warehouse of the soul). Russian folklore is relatively connected with the folklore of Slavic peoples.
National - part of universal. Between the nations, folklore contacts arose. Russian folklore interacted with folklore of neighboring peoples - Volga region, Siberia, Central Asia, Baltic States, the Caucasus, and so on.
2.2. Syncretism
The artistic start won in folklore not immediately. In ancient society, the word merged with the beliefs and household needs of people, and his poetic value, if it was,
not realized.
The residual forms of this state are preserved in rites, conspiracies and other genres of late folklore. For example, a diode game is a complex of several artistic components: words, music, facial expressions, gestures, dance. All of them can only exist together, as elements of a whole - dance. This property is made to denote by the word "syncretism" (from Greek. Synkretismos - "connection").
Over time, syncretism is historically ugas. Different types of art overcame the condition of primitive absentiance and allocated by themselves. The folklore began to occur their late compounds - synthesis.
The oral form of assimilation and transfer of works made them open to change. The two fully identical performances of the same work was not even if the performer was alone. Oral works had a movable, variant nature.
Option (from lat. Variantis - "Changeable") - Each single execution of the folk product, as well as its fixed text.
Since the folk product was told in the form of multiple performances, it existed in the aggregate of their options. Any option was different from other, told or spat at different times, in different locations, in different medium, different performers or one (re-).
Oral People's Tradition sought to preserve, protect against oblivion what was the most valuable. The tradition kept the text changes in their borders. For the options of the folklore product, it is important that it is common, repeated, and secondaryly what they differ from each other.
Let us turn to the riddles of the sky and the stars. They were recorded in different provinces - Moscow, Arkhangelsk, Nizhny Novgorod, Novgorod, Pskov, Vologda, Samara et al. (See in Krestomatology).
The artistic basis of the riddles is a metaphor: something crushed and it do not collect. Metaphor movable. From options, we learn what exactly could crumble. As it turns out, crumbled peas (peas), beads, carpet, ship, cathedral.It is usually noted where it happened: in the road; ours at the gate; on the cargo; in all cities, for all suburbs; on MCHAM, by seas; For twelve sides.In one of the options, the narrative preamble arises, clarifying the circumstances of the happening:
She went from Peter, carried a bead jug; She scattered him<...>
Finally, those who scattered do not assemble: king. Queen, Red Device, White Fish(Symbol of a girl-bride), diak (Duma Diak), Popam, Silvernikov, Princes, Smart Guys, Competent People, Fools.Mention silvernikovhinting on a hidden comparison: money crumbled, coins. White fishingspeaks about interaction with wedding poetry. In one of the options, the impossibility of collecting the scattered underlined paradoxical - by approval:
One God will collect
In the box will be stored.
God reminds a household peasant with combatnot tolerant loss and disorder. Since God, only God can collect can - mean no one else. In another embodiment, the tools of labor are named (broom, shovel),which in this situation will not help. So, in the riddle of the sky and stars there are stable and variable elements. Sustainable function (scattering) and its consequence (Impossibility to collect). All other elements of variables. Some of the variable elements are required (what crumbled; a place where it crumble; those who cannot collect scattering). Along with this, the optional variable elements arose isolated (under what circumstances something crumbled, what means it is impossible to collect).
Despite the strength and power of tradition, the variation still could go pretty far, expressing any new creative trend. Then a new version of the folklore work was born.
Version (from lat. Versare - "modified") - a group of options that give a qualitatively different interpretation of the work.
For example, among the options we have considered the riddles are this: Written by a shower of blue velvet, and not read this diploma neither Popam nor Dyaka. Neither smart men.This is a new version, since a steady element of riddles ( crushed- do not collect acquired a different appearance ( posted- do not read).
As you can see, the differences between the versions are deepest and significant than the differences between the options. Options are grouped in version by the degree of proximity and range of differences.
Variability is a method for the existence of a folk tradition. The perception of oral work can be compiled only on the basis of accounting as much as possible of its options. They must be considered not isolated, but in comparison of each other.
In oral tradition, there is no and cannot be "correct" or "wrong" options - it is movable in essence. There are options for both high and low quality artistic quality, deployed or compressed, etc. They are all important for understanding the history of folklore, its development processes.
When writing a folklore product, if it is scientific purposes, it is necessary to comply with certain requirements. The collector is obliged to accurately reproduce the text of the artist, and the record made by them is to have the so-called "passport" (indication - who, where, when and from whom this option recorded). Only in this case, the version of the work will acquire its place in space and time, it will be useful for studying the folklore.
2.4. Improvisation
Folklore variability could practically be carried out thanks to improvisation.
Improvisation (from lat. 1PThere180 - "unforeseen, suddenly") - creating the text of the folklore product, or its individual parts, during the execution.
Between acts of execution folklore work stored in memory. Voicing, the text every time it would be born again. The performer improvised. He relied on the knowledge of the poetic language of Folklore, selected ready-made artistic components, created their combinations. Without improvisation, the use of speech "blanks" and the use of oral-poetic techniques would be impossible.
Improvisation did not contradict the tradition, on the contrary, it existed precisely because there were certain rules, art canon.
The oral work was obeyed by the laws of his genre. The genre allowed one or another mobility of the text, set the boundaries of the oscillation.
In different genres, improvisation was manifested with a greater or less power. There are genres focused on improvisation (due, lullaby songs), and even those whose texts were one-time (fair cries of merchants). Unlike them, there are genres intended for accurate memorization, therefore, as if not allowed improvisation (for example, conspiracies).
Improvisation carried a creative impulse in himself, gave rise to novelty. She expressed the dynamics of the folk process.
3. Folklore as an artistic system
Folklore is a single artistic system, which has stylistic canons, rich in manifestation of shaped universalism.
Folklore is also a system system. Like literature, he is divided into poetic childbirth: Epos, lyrics, drama. Births are divided into species (song, fairy tale, non-sucking prose, etc.), and species on the genres. Some genres have a combination of signs of different kinds (LarEpic songs). If the basis of the classification is to put a way to ensure the works, then the folklore will be divided into ritual and out-of-contract. As a sign of volume, small genres are distinguished.
The genre is the main unit of the study of folklore. By definition, V.P. Anikina, each genre is a typical structural model, which has the ability to implement a certain vital installation. In the oral folk poetic tradition, genres are interrelated and interact.
Many genres are universal (for example: proverbs, riddles, fairy tales, legends, epic songs). Being perfect forms of artistic development of reality, they lived for centuries in folklore of different nations.
Folklore developed depending on changes in the everyday life, social life of the people and his consciousness. Many elements of folklore changed, recycled, transformed. There was a gradual replacement of the outdated genres system with a new artistic system.
Russian folklore has its own story. His roots go to the Old Slavic period, and then at the time of the Unified Old Russian Nature. The feudal epoch led to the flowering of classical folklore. Later an urban folklore, folklore of industrial workers, and so on.
Rannetraditing folklore, classic folklore, in-refrigerant folklore - artistic systems that have historically replaced by one another.
4. Creative Folklore Method
The method is a way to establish the ratio between the reality and its mapping in art.
The creative method of folklore was gradually folded, its formation proceeded in line with the continuity of the oral tradition. The poetic experience of the people accumulated from the century to the century.
Folklore is the art of major generalizations, which has a very high level of typing. It combines a direct reflection of life with conditional. Folklore is characteristic of associativity, thinking in analogies, symbolism.
The creative method of Folklore V. P. Anikin offered to call "sublimating"! Scientist wrote: "Latin word
sublemare.- "Return" used here metaphorically. In a special technical language, it means the direct transition of the solid when heated into the gaseous state. The usual transition to the gas is accompanied by an intermediate liquid state. Sublimation allows the solid to go to gas, bypassing the condition of the fluid. Similarly, folklore art in the process of awareness of the facts passes the staging of plausibility, proceeds to the level of so wide generalization, which is likely to become a burdeless moment for him.<...> There is no mandatoryreflection of life in the form of life itself,the conditionality is allowed "1.
Thus, a sublimating method is a special artistic view of a world that generates a special way to typing vital phenomena. The creative thought of the people squeezed everything too much. The path of climbing from life facts to their generalization was short, without intermediate links. Poetic generalizations were acquired by universal properties in folklore.
Recreation of real life, the people of the artist transformed her in the spirit of his ideal.
Literature to the topic
Veselovsky A. N.Historical poetics / Ed., Intr. Art. and notes. V. M. Zhirmunsky. - L., 1940.
Chicherov V.Questions theory and history of folk art. - M., 1959.
Principles of text farological study of folklore. - m.; L., 1966.
Bogatyrev P. G.Questions of the theory of folk art. - M., 1971.
Propp V. Ya.Folklore and reality: election. articles. - M., 1976.
Chistov K. V.Folk traditions and folklore: essays theory. - L., 1986.
Pottnya A.A.Theoretical poetics. - M., 1990.
East Slavic Folklore: Dictionary of Scientific and Folk Terminology / Rate: K. P. Kabashnikov (R. Ed.) And Dr. - Minsk, 1993.
Gusev V. E.Russian folk artistic culture (theoretical essays). - St. Petersburg., 1993.
Putilov B. N.Folklore and folk culture. - SPb., 1994.
Anikin V. P.Folklore The Afony: lecture course. - M., 1996.
1 Anikin V. P.Folklore theory. - M., 1996. - P. 172.