"Happy gatherings." Folklore entertainment for children and parents of the preparatory group
From the editor
The collection “Larks” was compiled by a young enthusiastic collector of folklore G. Naumenko, who offers the reader his notes and observations in a special area of Russian folk art related to children. For several years now, Mr. Naumenko has been traveling in the summer to different regions and districts of the RSFSR (Smolensk, Kaluga, Kalinin, Ivanovo, Moscow). Some of the recordings were made by him in the northern regions (Muezersky and Medvezhyegorsky regions of the Karelian Autonomous Soviet Socialist Republic). He made recordings from 1962 to 1974 using a tape recorder, and only a small part of them were auditory.
Page after page, the first part of the book reveals the bright world that surrounds the child from the very cradle, the love and attention of adults to babies. And then, in the second part, in the works of the children themselves, a purely childish perception of the surrounding life and the children’s direct response to certain natural phenomena are revealed.
Unpretentious tunes, often simple repeated chants or recitative exclamations, are combined with the original poetic language of numerous and genre-diverse works.
Intonation repetitions and closeness of rhythmic formulas, which are inevitable when showing one genre or type of folk art, are compensated by the variety of poetic images and the ability to trace variant differences.
When getting acquainted with the material, one should take into account the special nature of the performance - greater agogic freedom (acceleration, truss, transition from singing to speaking, etc.).
The collection reflects the oral works of folk art that make up his heritage. This heritage is organically woven into the life of a modern Soviet village. In the process of his work, the author of the collection addressed children of different ages. The children willingly sang to the collector modern school songs by Soviet composers and school ditties that were unpretentious in melody. They also trustingly revealed their secrets: they told the collector their children’s amusements and songs on this or that occasion, which adults are not always able to see and hear, since children often shyly hide their games and amusements from adults.
Without pretending to provide a complete and systematic coverage of the topic - “children’s folk art,” G. Naumenko nevertheless provides a large amount of material that widely acquaints the reader with the little-studied area of Russian folk art and shows some of its varieties with chants for the first time (children’s labor choruses, sayings, tongue twisters, counting rhymes, etc.).
The collection also makes an attempt to combine and, to a certain extent, systematize the collected material by genre and type.
Along with well-known games for both children and adults, fairy tales and children's songs, the collection contains many new and interesting things: singing mushrooms, berries, flowers, imitating the voices of birds, tongue twisters, etc.
The collection is addressed to the widest circle of all those interested in Russian folk art. It has a certain educational value and provides the opportunity for its practical use. We draw attention to the rich poetic speech, vivid realism and national identity of works with modest melodies, which, with good attention, can attract a folklore researcher and a kindergarten worker, a composer and poet, and the leader of a children's amateur performance group.
A greeting game is played.
Give me your hand quickly
And then the whole country
And then to another country -
We hugged the globe.
Questions from the teacher to parents
When and how, in your opinion, should we start introducing children to the work of adults?
How do you instill a sense of patriotism in a child?
How do you explain to your child what family is?
When and how should one begin to instill a sense of internationalism in a child?
How do you explain to a child what the Motherland is?
Name the folk crafts of the Moscow region.
Parents fill out anonymous questionnaires; they are stored in a separate folder for further analysis and discussion.
Immersion in the topic
Folk art is a healing spring of worldly wisdom, joy, and love. It reveals the true origins of the spiritual life of the Russian people, clearly demonstrates their moral, aesthetic values, artistic tastes and is part of their history.
Folk art in the totality of all its types and directions has great educational potential. Listening to works of oral folk art, getting acquainted with folk music, examining the products of decorative art by folk craftsmen, children acquire new knowledge about life, work, good and evil, and learn to understand beauty. In the process of reading and discussing works of art, their own creativity develops, and their speech becomes richer.
Folk art - be it a fairy tale, song, decorative art, nursery rhyme or saying - are parts of a single whole that complement each other. It is impossible to imagine a Russian ritual without a song, a dance, a ditty, and a Russian national costume.
A child becomes acquainted with Russian folklore at the earliest, infant age, in the form of a lullaby. A loved one - a mother or grandmother - sings it in a melodious and drawn-out voice in an even, quiet voice, while calmly patting the child on the back. This has a calming effect on him, he feels a sense of security and attention from adults.
Bye-bye-bye-bye,
Close your eyes, lalya.
Father went fishing
The mother went to wash the diapers,
Grandfather chops wood,
Grandma cook the fish soup,
Nanny feeds children.
Russian folk songs, nursery rhymes, and pestushki have no less educational effect on a child. They contain material that has been selected and practically tested over centuries, which carries love and beauty and creates a positive emotional background.
What are they talking about?
A wedding is taking place in the village. All the windows in the hut where the ritual takes place were covered with children. And how many of them there are on the stove and on the floors is difficult to count! Children catch every cue, remember every word. What happens forms a norm of behavior in the child, which he accepts under the influence of his own positive emotions and which he follows throughout his life.
Work in the field is hard. Under the scorching rays of the sun, girls reap rye and knit sheaves. A drawn-out song sounds about the hard lot of the Russian peasant woman, backbreaking labor.
The working day in the field is over, and at home I have my own household - feed the cattle, milk the cow, clean the hut. By evening, the girls just fall off their feet. But then the sounds of an accordion were heard - the fatigue disappeared! Girls and boys gathered to dance in circles and sing songs. And on the birch tree, on spinning wheels, like sparrows, there are children. They are not yet taken into the round dance: “They are still small. Let them grow up!” And they listen and peer into everything that is happening. They absorb into their hearts the very essence of their native culture.
Thus, folk wisdom, called the foreign word “folklore,” is passed on from generation to generation in Rus'.
Fairy tales are a great favorite among children. The child encounters them in early childhood. The Russian folk tale contains rich content and linguistic means of expression, which children begin to use in their own speech. A fairy tale introduces a child to imaginary circumstances and makes him experience, together with the characters, feelings that are remembered for a lifetime.
By getting acquainted with works of folk art, children learn the wisdom of the people, their spiritual wealth, kindness, love of life, faith in justice, the need for conscientious work, respect for people, and respect for nature.
“You can’t even take a fish out of the pond without difficulty,” says a father to his six-year-old son. And the son is only two inches from the pot, but he is already an assistant to his father in any work: whether to bring hay from the meadows, or to go to the forest for firewood. The power of folk wisdom is great. Children understand and remember the accurate imagery and brevity of proverbs and sayings.
Unfortunately, recently examples of mass culture from other countries are actively being introduced into the life, everyday life, and worldview of our children. In this case, it is necessary to provide the child with the opportunity to learn the origins of national culture and art. Oral folk art, musical folklore, folk arts and crafts should be greatly reflected in the content of education and upbringing of the younger generation in Russia.
The head of Domodedovo, Leonid Pavlovich Kovalevsky, is an ardent supporter of folk art in terms of educating young people, who strongly recommends that heads of educational institutions and culture refuse to celebrate foreign Valentine’s Day, Halloween, etc. “Rus has its own culture, accumulated over centuries and sifted through the sieve of life. Rus' is rich in its holidays with fiery dances, mischievous ditties, and soulful, drawn-out songs. Folk art and musical folklore should find their honorable place in the education of the younger generation,” he said at a meeting with the public. His recommendations were heard. It has become a good tradition to celebrate national holidays - Christmas, Christmastide, Maslenitsa. For the second year, the holiday of Saints Peter and Fevronia - the holiday of love, fidelity, and self-sacrifice - has attracted great interest. The preschool educational institutions also took note of the words about the need to educate preschoolers in line with Russian national culture.
The game “In the village of Rodnichok” is played. The hall is decorated in Russian style - a corner of a hut with a courtyard.
Educator
There is a corner in the Moscow region
Under the name "Spring".
There, as if in a children's book,
Our babies live.
They dance, play, play pranks,
Handwork is valued
Traditions are respected.
Who lives with children?
Who is leading them by the hand?
Listen guys
A new riddle.
There are sisters hiding in this young woman.
Each sister is a prison for the little one.
Guess who it is.
Children. Matryoshka dolls.
Matryoshka enters.
Matryoshka
I am a nesting doll from Moscow region.
I have a simple outfit
There are polka dots on my scarf,
The eyes sparkle with merriment.
Matryoshka performs dance moves to cheerful music.
We love to play with children,
But it’s time for Mashutka to sleep -
Let's rock Mashenka,
Let's hum a song.
1st child(rocks Masha doll to a lullaby)
Now the night is over,
Dawn is busy in the sky.
Children and Matryoshka approach the ceramic cockerel.
2nd child
Cockerel, cockerel - golden comb,
Oil head, silk beard,
Don't you let the kids sleep?
Children and Matryoshka approach the ceramic cow.
3rd child
Early in the morning
The shepherd - tu-ru-ru-ru.
And the cows suit him well - Mooo!
Children and Matryoshka approach the ceramic horse.
4th child
I love my horse.
I'll comb her fur smoothly,
I'll comb my tail
And I’ll go on horseback to visit!
Matryoshka
We are already being invited there
There are no round dances,
They don't play games
They are waiting for you and me.
The round dance game “A Goat Walked Through the Forest” is held. The players form a circle, one player - the “goat” - stands in the center. All participants walk in a circle to the right, and the “goat” goes to the left. Then the “goat” chooses one player, takes him to the middle of the circle, and together they make movements in accordance with the words of the song. The rest of the participants, standing in a circle, repeat the movements.
The goat walked through the forest, through the forest, through the forest.
I found myself a princess, princess, princess.
Come on, goat, let's jump, jump, jump.
And we kick our legs, we kick, we kick.
And let's clap our hands, clap our hands, clap our hands.
And we stomp our feet, we stomp, we stomp.
Let's shake our heads, shake them, shake them.
And again we begin, we begin, we begin...
The “Goat” and the selected player bring out another pair of participants and repeat the movements. The game continues until all participants are in the center of the circle.
I didn’t come to you alone,
I brought my sisters -
wooden dolls,
Beautiful and rosy.
Matryoshka takes out a detachable toy and shows it to the children.
What can our nesting dolls do?
Shall we play with them a little?
The matryoshka takes out the dolls one by one, and the children count them.
Matryoshka dolls lined up in a row -
How beautiful their outfit is!
What paints did the master take?
And did the outfit paint them?
The children answer.
Now sit back, get comfortable
Prick up your ears.
My sisters and I now
We'll sing ditties for you.
Chastushkas are performed by Matryoshka, children dressed as little nesting dolls and parents.
1st child
Even though I'm not tall,
I'll sing ditties
About the land near Moscow.
Mother(or dad)
In Domodedovo district
We have a lot of fun.
We take children to the “Name of the preschool educational institution”,
We're going to work at the port.
Dad(or mom)
And in “Name of preschool educational institution” their names are
Merry entertainers.
The kids in this group -
Like in an anthill.
2nd child
Here we will sing,
And we will dance.
But as soon as the sun goes down,
We will wait for mom.
3rd child
In the garden we are like kittens,
There are puppies on the street.
And cheerful all day
Like yellow chickens.
Mother(or dad)
In the Moscow region we have
Matryoshka was born.
Wooden toy,
Beautiful, rosy.
Matryoshka
I am a smart matryoshka doll,
Born in your land.
Play with me children
It will be fun with us.
Educator
Stop singing songs
It's time for us to play.
The squirrel was riding on a cart,
I sold nuts to everyone,
Some are two, some are three,
Get out of the circle.
This is how the driver is selected. Participants stand in a circle, the driver stands in the center, with their eyes closed. The participants lead a round dance, one of them sings.
Get into a circle quickly.
The participants stop, the driver approaches the player who was singing, feels his head, shoulders and tries to guess who it is. If he guesses correctly, the recognized player becomes the driver.
Matryoshka
This is how our corner lives
Under the name "Spring".
We play and eat here,
And we grow, we grow, we grow.
A master class is being held. On the screen (or wall) is a map of the Moscow region. On the tables are silhouettes of nesting dolls (according to the number of children).
Educator. There are many glorious places in the Moscow region. One of them is Sergiev Posad (shows on the map). The forests here are dense and dense. Therefore, all crafts are related to wood processing - this is the Bogorodsk toy, Abramtsevo-Kudrinsk wood carving and the world-famous matryoshka doll.
Take a closer look at it. She is squat and fat. Her outfit is simple, not distinguished by bright ornaments. The matryoshka holds a cockerel or doll in its hands.
You have silhouettes of nesting dolls on your tables. The face of the nesting doll is a portrait of your child. Dress them up.
Parents and their children use paints and brushes to decorate the double-sided silhouette of a nesting doll.
Summarizing. Talk about patriotic education.
Currently, many problems in education arise primarily because children are distant from the perception of folk traditions, little attention is paid to introducing children to folk culture, the positive impact of which has been proven.
In this article I would like to bring to your attention the content of the work on the topic: “Children’s folklore - the source of the preservation of Russian folk traditions.” The work took the form of a study of local material on the use of children's folklore in preschool institutions, as well as in primary and secondary schools in the Ust-Tark region. For the study, we used the experience of working in this area of kindergarten teachers in the village of Ust-Tarka: “Spikelet” by Evgenia Aleksandrovna Legacheva, “Sun” by Elena Viktorovna Zaitseva, Oksana Viktorovna Karpenko. Olga Leonidovna Sidorova, teacher of the Rucheyok kindergarten in the village of Pobeda.
The purpose of this study is to consider the state of work on introducing children of preschool and school age in some villages of the Ust-Tark region (Pobeda, Ust-Tarka, Elanka) to the traditions of Russian folk art, and the use of folklore heritage in working with children.
The goal of this study is not just to get closer to oral folk art and, as an integral part of it, children’s folklore, but to show that the traditions of the Russian people continue to live and are used in working with children in our village, in our region.
Show that children's folklore has become the most important tool for the aesthetic education of children.
The relevance of the work lies in the fact that Children's folklore is an integral part of folk art, a form of preserving the folk tradition of education and communication between an adult and a child.
Children's folklore is “nurturing poetry,” i.e. works created and performed by adults, folklore texts intended for preschool and younger children, school folklore in its oral and written forms.
Folklore is a verbal art that includes: proverbs, ditties, fairy tales, legends, myths, parables, tongue twisters, riddles, heroic epics, epics, tales.
The bulk of works of oral folk art arose in ancient times, but even today we use them, often without even knowing it: we sing songs and ditties, read our favorite fairy tales, tell each other riddles, use sayings in speech, learn and repeat tongue twisters, speak spells and much more.
Folklore has its origins in ancient times. It originated and arose when the vast majority of humanity did not yet have writing.
In a song, riddle, proverb, fairy tale, epic, and other forms of folklore, people first formed their feelings and emotions, captured them in oral work, then passed on their knowledge to others, and thereby preserved their thoughts, experiences, feelings in the minds and heads of their future descendants.
Children's folklore occupies a special place in folklore. This work is dedicated to him.
Through oral folk art, the child develops a need for artistic expression. Therefore, it is no coincidence that wide acquaintance with folklore has become an important point in working with children.
The main research methods chosen were:
– communication with children, organizing games, listening to children’s performances,
– interviews with teachers and parents of children,
– studying video recordings of performances at competitions and children’s parties,
– children's groups and adult folklore ensembles (“Sudarushka”, Pobeda village)
– compiling a photo album of your own performances.
The level of knowledge on this topic is quite high.
G. S. Vinogradov was the first to turn to a serious study of children's folklore. He published a number of significant works devoted to the study of children's folklore. The merit of G.S. Vinogradov is that he was the first to quite accurately define the concept of children's folklore, described in detail its many genres (especially counting rhymes), and revealed the connection between children's folklore and folk life. He authored a large number of articles and studies that raised general issues in the study of children's folklore in close connection with ethnography, the psychology of children's creativity and the traditional creativity of adults. His many years of collecting and research activities are summarized in the fundamental study “Russian Children's Folklore” (with the publication of more than 500 texts). G.S. Vinogradov owns studies of various types, such as “Children’s satirical lyrics”, “Folk pedagogy”. In them, from the general volume of children's folklore, he singles out “Mother's Poetry” or “Nurturing Poetry” into a special area, while at the same time constantly noting the presence and role of continuity between the works of this layer and the poetry of children.
Following G.S. Vinogradov and simultaneously with him, O. I. Kapitsa explores children's folklore. In the book “Children's Folklore” (1928), she characterizes numerous genres of children's folklore and provides a large amount of factual material. In 1930, the collection “Children's Folklore and Life” was published under the editorship of O.I. Kapitsa, the articles of which examine traditional children's folklore in Soviet conditions. In the post-war years, V. P. Anikin, M. N. Melnikov, V. A. Vasilenko and others were engaged in the study of children's folklore.
In the book by V.P. Anikin “Russian folk proverbs, sayings, riddles and children's folklore” (1957), a large chapter is devoted to children's folklore. It defines the concept of “children’s folklore”, gives a detailed description of its genres, and highlights the history of collecting and studying. The peculiarity of the book is that it notes the ancient features of a number of genres of children's folklore and talks about the historical changes in these genres.
Among researchers of children's folklore, K.I. Chukovsky occupies a special place, who clearly showed the process of children mastering folk poetic riches and developed the theory of the genre of changelings. He collected a wealth of material on children's folklore, which resulted in the widely known work “From Two to Five.”
M. N. Melnikov in the book “Russian Children's Folklore”, widely drawing on local material, establishes the place of Siberian folklore in the all-Russian fund of children's folklore. The fate of traditional children's folklore in modern conditions, as well as the characteristics of Soviet children's folklore, are discussed in the articles by M. A. Rybnikova, “Children's folklore and children's literature,” and V. A. Vasilenko, “On the study of modern children's folklore.”
Structure of the work - this work consists of an introduction, four chapters, a conclusion, a list of references and an appendix.
1. Children's folklore is the first school of childhood.
The greatest wealth that a country is proud of is its people, their traditions, culture, national identity, and achievements.
The people glorify and defend their Motherland.
But it has become quite common to have a reverse attitude towards one’s past, towards the history of one’s country, very often negative.
And it all starts from childhood...
The extent to which a child receives the experience of a warm attitude towards himself in early childhood will begin the process of forming his attitude towards the world around him.
The child perceives the first feeling of kindness and tenderness while listening to his mother’s lullaby, as well as her warm hands, gentle voice, and gentle touches.
The kind tone of the nursery rhyme evokes a positive response from the baby.
The child gets his first experience of communicating with his family, and gradually with surrounding people and animals.
And how important it is for this communication to be pleasant and kind.
The Russian people, like other peoples of the world, have accumulated vast experience in educating the younger generation, which must be preserved and used to preserve national identity.
And it is this problem that can be solved by the widespread use of children's folklore - part of Russian folk art - in working with children.
The word “folklore” comes from the combination of two English words: folk – people – and lore – wisdom. And this wisdom of the people should not disappear, but must be preserved if we do not want to lose our identity, and perhaps even independence.
The history of folklore goes back to ancient times. Its beginning is connected with the need of people to understand the natural world around them and their place in it. Children's folklore preserves traces of the worldview of each people in different periods of history.
In children's folklore, the power of a benevolent word is limitless, but most of all the native word, native speech, native language.
Thanks to folklore, a child more easily enters into the world around him, more fully feels the beauty of his native nature, assimilates the people’s ideas about beauty, morality, gets acquainted with customs - in a word, along with aesthetic pleasure, he absorbs what is called the spiritual heritage of the people, without which the formation of a full-fledged personality is impossible.
The mother, while caring for the baby, talks to him very affectionately and calmly, humming simple words that are pleasant for the child’s perception. And this tradition of nurturing is represented in children's folklore.
1) Lullabies.
The name of the songs that are used to lull a child to sleep - lullabies - comes from the base kolybat (to sway, swing, sway). Hence the cradle, stroller, and in popular usage there was also the name “baika” - from the verb baikat (to lull, rock, put to sleep). Its purpose or goal is to put the child to sleep. This was facilitated by a calm, measured rhythm and monotonous chanting.
One of these lullabies can be found in the Appendix (text « Lullaby").
The ancient meaning of lullabies is conspiracies against evil forces, but over time they have lost their ritual meaning. With the help of conspiracies they often asked for a child’s health, protection from the evil eye, and a rich life.
The theme of the lullabies was a reflection of everything the mother lived with - her thoughts about the baby, dreams about his future, to protect him and prepare him for life and work. Mothers include in their songs what the child understands. This is a “gray cat”, “a red shirt”, “a piece of pie and a glass of milk”.
Currently, many mothers are busy, and probably not all of them even know lullabies, but we tried to find out by talking with young mothers. And we got the following result - most of the respondents sang lullabies to their children. (Video « Lullaby").)
The process of “forgetting” is natural. Life in our country is changing radically. The mother's range of interests used to be limited to caring for her children and husband, and maintaining order in the household; today, women participate in public life on an equal basis with men. Fiction, radio, and television make their own adjustments to education, but nothing can replace a mother’s love for a child.
2) Pestushki. Nursery rhymes.
Pestushki (from the word “to nurture” - to educate) are associated with infancy. Having unswaddled the child, the mother says: “Stretch, grow, Across the fat one,” or while playing with the baby - “And walkers in the legs, And graspers in the arms,” “And talk in the mouth, And intelligence in the head.”
The rhymes are simple and very easy to remember; any mother at least sometimes uses pestles when caring for her child. While bathing the baby, the mother says: “Water is off a duck’s back, but Maksimka’s skin is thin.” Pestushki imperceptibly turn into nursery rhymes.
Nursery rhymes are usually called special fun for adults with small children. Nursery rhymes are also called songs - sentences that organize these fun.
Many nursery rhymes are close to lullabies. The nursery rhyme amuses with its rhythm - it amuses, it amuses. It is not always sung, but more often it is spoken; the words are accompanied by playful actions and provide the child with the necessary information. With the help of nursery rhymes, children develop a need for play, revealing its aesthetic content, preparing the child for independent play in a children's group. The main purpose of the fun is to prepare the child to perceive the world around him during the game, which will become a preparation for learning and education.
The simplest jokes and comic motives are introduced into the nursery rhyme, and gestures are added to maintain joyful emotions. Counting is introduced into the nursery rhyme, and the child is taught to count without a numerical designation for the count, for example, “Magpie.”
They take the child’s pen, run their index finger over the palm and say:
Magpie, magpie, magpie - white-sided,
I cooked porridge, jumped on the threshold,
Called guests;
There were no guests, no porridge was eaten:
I gave everything to my children!
Pointing to each finger of the hand, starting with the thumb, they say:
I gave it to this one on a platter,
It's on a plate
This is on a spoon,
This one has some scratches.
Stopping at the little finger, they add:
And there is nothing to this!
And you are small - little -
I didn’t go for water
Didn't carry firewood
I didn’t cook porridge!
Moving the arms apart and then quickly placing them on the head, they say:
Shu-u-u- flew,
They sat on Masha's head!
And from the very first steps of communication, a mother or grandmother tries to show that they need to work. Nursery rhymes are structured this way; knowledge is almost never given in its “pure form,” directly. It is, as it were, hidden; the child’s mind must work hard to get it. The nursery rhymes show the obligation of work for everyone, even the little ones.
Another equally important part of children's folklore is the game.
2. Play folklore - as part of children's folklore.
Play is the most accessible and understandable activity for a child. In the game, the child learns to work, build relationships with peers and people around him. Folk games, in combination with other educational means, represent the basis of the initial stage of the formation of a child’s personality.
Childhood impressions are deep and indelible in the memory of an adult. They form the foundation for the development of his moral feelings. From time immemorial, games have vividly reflected people's lifestyles. Life, work, national principles, ideas about honor, courage, courage, the desire to have strength, dexterity, endurance, speed and beauty of movements; show ingenuity, endurance, creativity, resourcefulness, will and desire to win.
The concept of a game in general has different understandings among different peoples. Thus, among the ancient Greeks the word “game” meant “indulging in childishness,” among the Jews the word “game” corresponded to the concept of joke and laughter, among the Romans it meant joy and fun.
Subsequently, in all European languages, the word “game” began to denote a wide range of human actions - on the one hand, not pretending to be hard work, on the other, giving people fun and pleasure.
The distinctive character of all Russian games and merrymaking is that they reveal the primordial love of the Russian person for fun, movement, and daring.
The character of the people undoubtedly leaves its noticeable imprint on many manifestations of people's public and private life. This character also affects children's games.
A game is always entertainment, fun and always a competition, the desire of each participant to emerge victorious, and at the same time the game is the most complex type of children's folklore, which combines elements of dramatic, verbal, and musical creativity; it includes songs and holidays.
Counting or drawing lots are inextricably linked with most folk games. Counting tables make it possible to quickly organize players, set them up for an objective choice of driver, unconditional and accurate implementation of the rules.
1) Counting books are used to distribute roles in the game, with rhythm being crucial. The presenter recites the counting rhyme rhythmically, monotonously, consistently touching each participant in the game with his hand. The counting books have a short rhyming verse.
One two three four five -
The bunny went out for a walk
But the hunter did not come,
The bunny crossed into the field,
He didn’t even move his mustache,
Then I wandered into the garden!
What should we do?
What should we do?
We need to catch the bunny!
One two three four five!
2) Draws(or “collusions”) determine the division of players into two teams and establish order in the game. And they always contain a question:
Black horse
Stayed under the mountain;
What kind of horse - gray
Or golden-maned?
3. Calendar folklore(calls and sentences)
1) Calls- call, call. These are appeals and cries of children to various forces of nature. They were usually shouted out in chorus or in a chant. They are magical in nature and signify some kind of agreement with the forces of nature.
Playing in the yard, on the street, children joyfully call out to the spring rain in chorus:
Rain, rain, more,
I'll give you the grounds
I'll go out onto the porch,
I'll give you a cucumber...
I'll give you a loaf of bread too -
As much as you want, force it.
2) Sentences– appeals to living beings or a sentence for good luck.
When looking for mushrooms they say:
Mushrooms on mushrooms,
And mine is on top!
Once upon a time there were men,
They took saffron milk caps - mushrooms.
This is not the entire list of works of children's folklore that are used in our time when working with children.
Time passes - the world around us changes, the means and forms of obtaining information change. Oral communication and reading books are replaced by computer games and television programs, which does not always bring positive results. And the conclusion suggests itself: you cannot replace the living word of communication with a fictional world. Often, “pampering” of a child is used as the main form of education at the present time. And the result is far from disappointing. By using works of children's folklore from early childhood, both parents and educators form the idea in children that it is impossible to achieve success without work, without effort. A child, receiving unobtrusive instruction from early childhood, understands the need to take care of the people around him and pets. The game provides an opportunity to establish oneself among peers, develops restraint, responsibility, and the ability to relate one’s desires to the needs of other children. Children, fulfilling the conditions of the game, are accustomed to a certain order, the ability to act according to the conditions. Russian folk tales also teach a lot, revealing to the child the unique flavor of Russian life, Russian customs, and Russian speech. There is a lot of instructive stuff in fairy tales, but it is not perceived as moralizing; there is a lot of humor, which is not perceived as ridicule. The child strives to be like the heroes who help those in trouble. When talking with the guys, it’s nice to hear that “I like Ivan Tsarevich because he is brave and kind, I like Vasilisa the Wise, she helps to find the right solution in a difficult situation.” This attitude towards heroes gives the child an example to follow and do the right thing. The use of children's folklore in communication with children prepares them for life in society and, indeed, becomes the first school of childhood and the first sprout of preserving Russian culture.
4. Research results
This part of the work presents the results that were obtained during the study of local material in the process of communication with parents, teachers and children of kindergartens in our area (the villages of Pobeda, Ust-Tarka, Elanka). The communication process took place in a very friendly atmosphere. Everyone we contacted responded to our request with great attention and participation.
The work was structured as follows:
Visiting a preschool, meeting the children, talking with the kids.
Sample questions:
- Guys, what is the name of your village?
– What are the names of your mothers, grandmothers, teachers?
– What books do your parents and educators read to you?
– What games do you like to play?
– Do you know many poems and songs?
The interesting thing is that many of the children remembered short nursery rhymes and counting rhymes, and many remembered the rules of simple games.
The experience of working with children's folklore in all visited kindergartens is interesting. But especially indicative is the work of Evgenia Alexandrovna Legacheva, a teacher at the Kolosok kindergarten. Evgeniya Aleksandrovna uses works of children's folklore in her daily work with children from the younger group until graduation from school. She “infected” both her colleagues and her parents; they also enthusiastically work with folklore. And the result was not long in coming. The group of the kindergarten "Kolosok" is a prize-winner and winner of folklore competitions.
Teachers at the Solnyshko kindergarten also consider children's folklore to be the most important thing in working with children. Because only through folk traditions and the educational experience accumulated by the people can worthy people be raised. Elena Viktorovna Zaitseva, Oksana Viktorovna Karpenko, Margarita Anatolyevna Semyonova created a whole collection of folk costumes, a corner of “Russian antiquity”, a large number of developments and scenarios for Russian fun, holidays and games.
The teachers at Koloska and Solnyshko have created excellent conditions for raising children in folk traditions. And in this they are supported by their parents, who speak with gratitude about the activities of the teachers.
Corners of folk life have been created in the gardens, where they can familiarize themselves with peasant household items and collect dishes, costumes, spinning wheels, and icons. And most importantly, these are not frozen museum exhibits, but attributes of games, performances, and activities. The kids can try “spinning”, ironing with a cast iron iron, or they can also use a roller, “carrying” water on a rocker.
Children learn that in the front corner of each hut an “image” was placed - an icon that protected the house from misfortunes. Every business of any family began with prayer. And in every task, the main thing was diligence and the desire to learn.
Training begins unobtrusively. In younger groups, nursery rhymes are used when performing hygiene procedures with children, which evokes positive emotions in the children. Gradually, teachers teach the children chants, counting rhymes, and tongue twisters. The children enjoy playing folk games, which often gives an idea of elements of the life of the Russian people that are not currently used, but are an integral part of Russian culture.
The greatest impression and knowledge is brought to children by participating in theatrical performances and performing at folklore festivals, where they take prizes. This creates confidence in both children and parents that there is someone to preserve folk traditions and they are preserved.
It is also of great importance that work is carried out using folk costumes, which parents often help create, and even master classes are held. I would really like to note the close cooperation between teachers and parents, but the parents of the students are from 25 to 32 years old, they are also young people themselves. But it is from them that a positive assessment of working with children's folklore comes. They note a positive result in that the children, even in everyday situations, get used to a certain type of behavior. Every family, in their opinion, should preserve traditions. And the beginning is given precisely by the school of childhood - folklore, the folk tradition of caring for children, caring for their future, caring for the spiritual wealth of their country. Of course, for the work to be effective and creative, financial costs are also needed, which is especially burdensome for rural children's institutions. Initiative alone is not enough in this case. But, despite limited material opportunities, children's creativity is encouraged and children, getting acquainted with children's folklore, become bearers of folk traditions and, perhaps, pass them on to their children. An interesting example is this: Evgenia Alexandrovna asked the parents of her group to make millstones. This task put parents in a difficult position: “What is this?” and the guys explained to them that they used to grind flour with millstones. A very interesting method of introducing children to the plots of folklore is used in the “Rucheyok” kindergarten. Illustrations from folk tales decorate the walls of the bedroom, playroom, and children's reception room. The children remember the content of a fairy tale or nursery rhyme faster and name what moment they depicted in the picture. Olga Leonidovna Sidorova works in a group of different ages, this, of course, complicates the work, but classes with children are conducted taking into account the age of the children. A grandmother came to the younger group, such a friend, how at home she speaks affectionately, shows what she brought in the box and reads nursery rhymes - this is how the children get involved in the game.
Lyudmila Vladimirovna and Lyudmila Yuryevna from the Elansky kindergarten captivate the children with games and use books on children's folklore. They created a corner of folk instruments. And therefore I would like to say a huge thank you to everyone who understood the need to raise children in folk traditions and preserve national identity.
Conversations were held with teachers.
Sample questions:
– Why do you use folklore in your work? How long have you been doing this?
– Do children like to learn nursery rhymes, chants, and counting rhymes?
– Do you consider it necessary to continue using children’s folklore in working with children?
– Do your parents approve of turning to folklore and do they help you?
The result of conversations with teachers was the conclusion that children's folklore is a time-tested means of educating children from a very early age. Working with children gives the desired result. The guys communicate with each other with great desire, are not offended by comments, and try to quickly and correctly fulfill the conditions of the game so as not to let their friend down. Preparation for performances also contains many positive aspects. Children not only learn to be responsible for the assigned task, but also worry about their comrades, gain not only knowledge of how holidays were held in the old days, but also what everyday life was like, what behavior was considered correct and what should not be done.
Children's folklore is a school, a school of childhood that is relaxed and friendly, sincere and accessible to every child, uncomplicated for every parent and grandparent. There is no need for special talent here - there would only be desire, and the result is obvious. A child, having felt warmth and care from early childhood, will give it later, as an adult, in caring for his children and parents. And this thread of connection between generations should not be interrupted. Our children's institutions employ creative people who understand very well the need for children to engage in folk art, so that they grow up to be worthy citizens of their country, caring parents and grateful children. At the Pobedinskaya school, when working with children, they also devote a lot of time to introducing children to folk art. Students have repeatedly participated in regional folk art competitions and won prizes. The guys study in a club at the village cultural center. The head of the circle, Tatyana Aleksandrovna Gribkova, draws up scenarios with the children for holidays and folk festivities on Ivan Kupala Day, the celebration of Maslenitsa. Girls and boys “immerse themselves” in the tradition of celebrating these holidays among the people. They prepare costumes, learn dances, songs, and the necessary attributes for the celebration, and this gives a great experience of familiarization with folk traditions. In addition, the children, being carried away by the preparation, involve their parents in the events. Reviews from fellow villagers about such holidays are only positive. Holidays held at school often contain elements of folk celebrations: round dance songs, outdoor games, guessing riddles. The kids like simple but exciting folk games “Kite” and “Pots”. Application (Games). Junior and middle school students participate in folklore festivals and perform in front of their fellow villagers. And I especially like these performances. Therefore, we can say with confidence that folk traditions continue to live and we must carefully protect them, and children's folklore is the main means of preserving Russian identity.
Conclusion.
Works of children's folklore are present in the life of every child and must be used. Children of preschool and school age in the villages of the Ust-Tark region: Pobeda, Ust-Tarka, Elanka begin to become acquainted with the traditions of Russian folk art from early childhood, with their mother’s lullaby.
In children's institutions, folklore heritage is widely used in working with children. As the study showed, there is a system in work: from simple and understandable (rhymes, nursery rhymes, lullabies) to more complex (songs, games, fun) and further to creativity (participation in competitions, holidays).
Perhaps the same conditions for this area of work are not created everywhere, but creative people work with children, and they try to use folklore as often as possible in their classes. This study not only introduced us closer to oral folk art and children's folklore, but also showed that the traditions of the Russian people continue to live and are used in working with children in our village, in our region. It showed that children's folklore has become the most important tool in the aesthetic education of children. And of course, children's creativity based on folklore very closely connects generations. Makes communication clear between child and mother, grandchildren and grandmothers. There is no place for such an expression: “ancestors,” but there is a natural connection in the family, where everyone knows: old age is worthy of respect, and childhood is worthy of protection.
A child introduced to the culture of communication in the family transfers it to communication with other children, educators, teachers, neighbors, and this is the goal of folk wisdom.
List of sources used:
Literature:
1. “Rhymes” For reading to adults and children: M., 2011.
2. “Russian traditional-ritual folklore of Siberia and the Far East” (songs and spells), Novosibirsk “Science” 1997; volume 13, page 139.
3. “Russian folk poetic creativity” anthology compiled by Yu.G. Kruglov, L. “Enlightenment”, 1987; pp. 489-502.
4. “Russian folk tales”, Moscow, ed. "Assistance", 1997, pp. 21-35.
5. Collection “From Children's Books”, Moscow, “Enlightenment”, 1995, part 1, pp. 4-15.
6. Folklore of the peoples of Russia, compiled by V.I. Kalugina, A.V. Kopalina “Drofa”, M., 2002, volume 1, pp. 28-34, 51-61.
7. Chukovsky K.I. From two to five: M., “Children’s Literature”, 1981, pp. 267-342.
Family archive materials:
1. Video “Lullaby” from the family archive of T.V. Durnova,
2. Photos from the family archive of Khabibullina O.N.,
3. Photos of Legacheva E.A.
2. Video materials:
interview No. 1 (“Spikelet”), interview No. 2 (“Sunny”), interview No. 3 (Elanka), interview No. 4 (“Rucheyok”); Gatherings “Like ours at the gate” (“Sun”); "Lullaby"; the game “Bear the Bear in the Forest” (Elanka), the game “I’m watching, I’m twisting the cabbage” (Pobeda), “Poteshki” (Pobeda).
3. Texts.
Applications:
Game "I'm twisting, I'm twisting cabbage."
They played cabbage like this: the children stood in a chain, holding hands. “Kocheryzhka,” the last one in the chain, stood still, and the whole round dance revolved around him. After everyone had crowded into the “cob,” they raised their hands, and the “cob” pulled the entire chain behind him. Sing:
I see, I see, I see the cabbage, yes
I see, I see, I see the cabbage.
The little cat curled up in the villa,
The little cat was curling up with his villa.
When they were developing, they sang: “the little kitten developed like a villa.”
Game "Kite".
The guys grab each other by the waist and stand in single file. The kite is squatting. Children walk around the kite and sing:
I walk around the kite and knit a necklace.
Three strings of beads,
I lowered the collar, it was short around the neck.
Korshun, Korshun, what are you doing?
I'm digging a hole.
Why a hole?
I'm looking for a needle.
A little needle
Sew a bag.
What about a bag?
Place the pebbles.
What about pebbles?
Throw it at your kids.
The kite must catch only one chicken, standing at the end of the whole line of chickens. The game requires attention, endurance, intelligence and dexterity, the ability to navigate in space, and the manifestation of a sense of collectivism.
Game "Pots"
The players stand in a circle in groups of two: one is a merchant, in front of him is a pot squatting. The driver is a buyer. Traders praise their goods. The buyer chooses a pot, then there is an agreement
What's the pot for?
By money
Isn't it cracked?
Try.
The buyer lightly hits the pot with his finger and says:
Strong, let's agree.
The Owner and the Buyer extend their hands to each other, singing:
Plane trees, plane trees, gather together, potters, by the bush, by the crust, by the swan! OUT!
They run in different directions to see who gets to the purchased pot first.
Nursery rhymes
Oh you grandfather Stepan,
Your caftan inside out.
The kids loved you
They followed you in a crowd.
You're wearing a hat with a feather,
Mittens with silver.
Already you are walking, mincing,
You jingle your mittens.
You jingle your mittens,
You're talking to the kids.
Get ready here
Eat some jelly.
Geese geese
Ga ha ha ha.
Do you want to eat?
Yes Yes Yes.
So fly!
No no no.
Gray wolf under the mountain,
Doesn't let us go home.
Well, fly as you wish.
Just take care of your wings.
Water, water,
Wash my face
So that your eyes sparkle,
So that your cheeks turn red,
So that your mouth laughs,
So that the tooth bites.
We woke up
Stretched out
Turned from side to side!
Stretches!
Stretches!
Where are the toys?
Rattles?
You, toy, rattle,
Raise our baby!
On a feather bed, on a sheet,
Not to the edge, to the middle,
They laid the baby down
They wrapped up the tough guy!
Lullabies
Hush, Little Baby, Do not Say a Word,
Don't lie on the edge.
The little gray wolf will come,
He'll grab the barrel
And he will drag you into the woods,
Under a broom bush.
Don't come to us, little top,
Don't wake up our Sasha.
Bye-bye, bye-bye!
Don't bark, little dog...
Bye-bye, bye-bye,
You, little dog, don't bark,
Whitepaw, don't whine,
Don't wake up my Tanya.
Folklore entertainment for children 4-5 years old in kindergarten “Folk games with Matryoshka”
An entertainment script based on Russian folklore for middle school children.
Target: create conditions for a festive mood.Tasks: introduce children to Russian culture; develop aesthetic perception and musicality of children; evoke an emotional response to what is happening; cultivate interest in folk games.
Materials and equipment. Disc of Russian folk music, nursery rhymes. Large scarf, small scarves.
The role of the nesting doll, the cockerel, and grandfather Timofey is played by the children of the same group.
Progress of entertainment.
Russian folk music sounds.
Presenter.
We're going to have fun today.
He will come to visit us today,
And who, now you find out,
If you can guess the riddle!
"Scarlet silk handkerchief,
Bright sundress with flowers,
The hand rests on the wooden sides.
And there are secrets inside:
Maybe three, maybe six.
I got a little flushed.
This is Russian……(matryoshka)
Presenter.
We'll clap our hands
Come out here, Matryoshka!
Matryoshka comes out to a Russian folk melody. The matryoshka dances, performing familiar dance movements, the children clap their hands.
Matryoshka.
Who is brave here?
Who's smart here?
Come out into the circle boldly!
Prepared for the kids
Interesting game!
Game "Grandfather Timofey"
Hello grandfather Timofey!
Don't look at the children, don't shake your head,
Don't shake your beard.
Don't stomp your feet, stay on the path.
Yes, listen to what we say
Look what we show!
Grandfather. Where have you kids been?
Children. In a raw barrel!
Grandfather. What were you doing there?
We sat on a hummock, stood on a stump,
They scratched their heads and ran away from you! Grandfather catches the kids.
Matryoshka.
We, cheerful nesting dolls,
Everyone was sitting by the window.
We're tired of being bored
They came to you to dance.
Dance “We are nesting dolls one, two, three”
The girls, together with Matryoshka, perform movements according to the text of the song.
1.We are nesting dolls one, two, three
How similar they look, look.
Ay Lyuli, Ay Lyuli,
Sundresses to the ground.
2.We are nesting dolls one, two, three
How beautiful, look, look.
Ay Lyuli, Ay Lyuli
The ribbons were braided into braids.
3.We are nesting dolls one, two, three
Look how friendly we are, look
Ay Lyuli, Ay Lyuli
We started a round dance.
Matryoshka.
Let's play with my friend, the golden cockerel.
The cockerel comes out.
Cockerel. I am a cockerel - a golden cockerel!
I get up very early, I sing very loud1
Who is brave here, who is clever here?
Come out into the circle quickly!
I prepared it for the kids
Interesting game!
Game “Pet walks around the yard”
uh"
All players stand in a circle and join hands. The players walk in a circle, the rooster is in a circle. Children say a nursery rhyme:
Thump - thump
Tu - ru - rukh!
A rooster walks around the yard.
Himself with spurs, a tail with patterns.
Standing in the yard, screaming the loudest!
Rooster: Ku-ka-re-ku!
Everyone runs away, the rooster catches the children. Once caught, it becomes a rooster.
Presenter: Well, we teased, we played,
But everyone didn’t dance together.
And what would a celebration be without Russian, mischievous dancing?
Well, guys, come out!
Show yourself dancing.
General dance.
Matryoshka. Oh, we're tired of playing, now we'll rest.
And I brought you beautiful scarves in a basket. Hands out handkerchiefs to everyone. Everyone sits down on the mat. They wave their handkerchiefs to calm music, then hide.
We'll take the corners
Our bright scarves
And we'll lift you high
Let's play with it easily.
One, two, three, who's hiding inside! Children hide with handkerchiefs at this time
The teacher covers several children with a large scarf.
We lower the handkerchief, who is missing here?
One, two, three, who's hiding inside?
The game repeats itself.
Educator. What a fun time we had with the matryoshka doll,
Matryoshka. Good children, skillful children,
You are the best children in the world!
I have something in store for you...
I brought you some treats!
The matryoshka takes out treats from the basket, gives them to the children and says goodbye.
For the second younger group
Purpose of the holiday: To introduce children to the origins of Russian folk culture through the active use of folklore (rhymes, jokes, songs, riddles); continue to develop gross and fine motor skills, positive emotions, speech activity, musical and creative abilities, and singing skills.
Attributes for the holiday: Russian hut, stove, poker, cast iron, grip, tablecloth, wooden bench, homespun rugs, samovar, miracle box with musical instruments, Russian folk costumes.
Start of the holiday:
Musical director: He offers to ride a horse to the village to visit his grandparents. Children ride and sing “we’re going, we’re going to see grandma, to grandpa on a horse, but-but-but” (they sing 3 times while going around the hall).
Musical director: We drove, we drove, we finally arrived!
They meet a cockerel at the house and sing him a song (Russian folk song).
A bunny ran behind the garden and invited the children to sing the song “Bunny-Bunny”; after the song, the children treated the bunny with carrots.
Musical director: It’s quiet in the house, no one is greeting us, let the children dance and wake up the grandparents “Happy Dance.”
Grandmother and grandfather come out of the house.
Hello, my dear grandchildren! Why are you standing at the door? Come in, we are always happy to have guests! Step onto the porch. Are your feet clean? (Children answer.)
Look how bright and beautiful it is in our room! There are homespun rugs and handmade rugs all around, just a sight for sore eyes! Sit down next to each other and let’s talk amicably!
Game "Magpie - White-sided Cooked Porridge."
Grandmother: You, grandpa, go get some firewood, and I’ll knead the dough and bake some gingerbread! And you, granddaughter - Daryushka, show me the hut.
Daryushka: Okay, okay, grandparents (they leave).
Guys, do you know what a hut consists of? I’ll tell you now, and you repeat after me!
Finger gymnastics
Wall, wall (index fingers show cheeks)
Ceiling (forehead shown)
Two windows (index fingers on eyes)
Door (on mouth)
Call! Ding-ding-ding! (press fingers on the tip of the nose)
Nobody opens (clasp their hands in a lock)
It’s just a waste of time to ring the bell (thumbs straighten)
There is a big lock on the door
Here it is, the key! (the right hand is put forward, connecting the thumb and index finger)
And the lock is open! (place the thumb and index finger of the right hand on the left palm and turn them clockwise).
Daria: Now I will tell you some riddles:
- In a hut - a hut,
There is a pipe in the hut,
I lit a torch
Placed it on the threshold
There was a noise in the hut,
There was a buzz in the pipe.
The people see the flame,
But the stove won’t put it out.
- Hands on hips like a boss
He gets up on the table before everyone else,
My own stove and kettle,
He will brew it himself, pour it himself (samovar).
Well done, guys! You solved all my riddles!
But who can you put to sleep in this crib?
That's right, a doll! Do you know how to lull and talk?
I'll teach you now:
You, little kitten, little cat, little gray tail,
Come, kitty, spend the night and rock my baby.
How can I pay you, cat, for your work?
I'll give you a piece of pie and a jug of milk.
(Children take the dolls, rock them, singing along.)
Grandmother and grandfather enter the house: Well? Are you bored?
Musical director: No, she taught our children to sing a lullaby.
Grandmother: How smart and intelligent you are! What do you think is the most important thing in the house? Is it a porch, or a stove, or a window, or a table and a bench with a cat? (Children answer.)
But I’ll tell you: no matter how swords are, there is no better oven.
Where can I bake bread, pies and rolls?
Where can I cook cabbage soup and porridge? Of course, in the oven!
The stove is small, but warm, so you can dry your felt boots on it and warm up yourself.
Grandfather: Before you light the stove, don’t forget to chop the wood and say the words. Things will go faster (grandfather chops wood, sentences)
I'm chopping, chopping wood.
I'm pricking at little bits,
I'm chopping, chopping wood.
Burn a fire in the stove!
Grandmother: And I'll bake you some gingerbread.
Grandfather: While the gingerbreads are cooling, I’ll show you what a miracle it is - a box!
You run to me here, it’s a miracle - look at the box.
Name what the eyes see! (Children take wooden spoons, rattles, and bells from the box.)
Daryushka: This is what our kids are like!
And where are the kids, there will certainly be orchestral playing!
Kids are playing. And the grandmother and grandfather dance, and their granddaughter plays the rattles.
Grandfather: There’s also a painted handkerchief in the box, would you like to play blind man’s buff with it?
Grandmother: We only want you to be blind man's buff, grandpa!
Grandfather: Well, I haven’t played for a long time, I was waiting for you granddaughters.
If there are grandchildren, there will be fun!
Game of blind man's buff.
Grandfather: And today is our granddaughter’s name day, let’s sing “Loaf” together.
Grandmother: Time flies quickly, the samovar is already boiling (puts the samovar on the table).
And now the children want to show their grandfather, grandmother and granddaughter Daryushka what painted mugs with plates and pies with cheesecakes and pretzels they made for the exhibition “Russian Folk Art” together with their parents.
Daryushka treats the children to sushi.
Eat sushi, drink some tea, don’t forget us!
The children thank their grandmother, grandfather, Daryushka and ride home on the horse.
