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 experience of 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 aesthetic education 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 children preschool age and younger ages, 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. Dedicated to him this work.
Through oral folk art, the child develops a need for artistic expression. Therefore, it is no coincidence important point working with children became widely familiar with folklore.
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 owns 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 devoted to 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 realize the world nature and your 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 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 was previously limited to concerns about children and husband, about maintaining order in household Today, women participate in public life on an equal basis with men. Fiction, radio, television make their own adjustments to education, but replace mother's love nothing can do to the child.
2) Pestushki. Nursery rhymes.
Pestushki (from the word “to nurture” - to educate) are associated with infancy. Having unswaddled the child, the mother says: “Stretchers, stretchers, 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. A count 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 hand and run it over his palm. index finger and they 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 social and privacy of people. 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. Applying with early childhood works of children's folklore, both parents and educators form the idea in children that without work, without effort it is impossible to achieve success. 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. Russians also teach a lot folk tales, revealing to the child the peculiar flavor of Russian life, Russian customs, 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 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:
Visit preschool, meeting children, talking with the guys.
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. Since only through folk traditions and the educational experience accumulated by the people, it is possible to raise worthy people. Elena Viktorovna Zaitseva, Oksana Viktorovna Karpenko, Margarita Anatolyevna Semyonova created an entire collection 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 with children hygiene procedures, what causes the guys positive emotions. 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 child care 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. Very interesting method Introducing children to the plots of folklore is used in the kindergarten “Rucheyok”. Illustrations from folk tales decorate the bedroom walls, game room, children's reception rooms. 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. IN junior group grandma came, so familiar, how at home she talks 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 string 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,
To make your mouth laugh,
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 the feather bed, on the 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.
Genres of works by U.N.T. accessible to preschool children.
Children's folklore- a phenomenon unique in its diversity: a huge variety of genres coexist in it, each of which is associated with almost all manifestations of a child’s life. Each genre has its own history and purpose. Some appeared in ancient times, others - quite recently, those are designed to entertain, and these are to teach something, others help little man get your bearings in the big world...
The system of genres of children's folklore is presented in Table 1.
Table 1
Non-fiction folklore
The poetry of nurturing:
Pestushki(from “nurture” - “nurse, raise, educate”) - these are short rhythmic sentences that accompany various activities with a baby in the first months of his life: waking up, washing, dressing, learning to walk. For pestles, both content and rhythm are equally important; they are associated with physical and emotional development the child, help him move, and create a special mood. For example, stretches:
Stretch, stretch,
Hurry, wake up quickly.
Lullabies- one of the ancient genres of children's non-fiction folklore, performed by women over the cradle of a child in order to calm him down and put him to sleep; often contains magical (spell) elements. We can say that lullabies are also pester songs, only associated with sleep.
Bye-bye, bye-bye,
You, little dog, don't bark,
Whitepaw, don't whine,
Don't wake up my Tanya.
Jokes- These are small poetic fairy tales in verse with a bright, dynamic plot. of a comic nature, representing a comic dialogue, appeal, a funny episode built on illogic. They are not associated with specific actions or games, but are intended to entertain the baby.
And-ta-ta, and-ta-ta,
A cat married a cat,
For the cat Kotovich,
For Ivan Petrovich.
A boring fairy tale- a fairy tale in which the same fragment of text is repeated many times.
Boring tales are jokes that combine fairy-tale poetics with mocking or mocking content. The main thing in a boring fairy tale is that it is “not real, it is a parody of the established norms of fairy tale technique: beginnings, sayings and endings. A boring fairy tale is a cheerful excuse, a proven technique that helps a tired storyteller fight off the annoying “fairy tale hunters.”
For the first time, several texts of boring fairy tales were published by V.I. Dahlem in 1862 in the collection “Proverbs of the Russian People” (sections “Dokuka” and “Sentences and jokes”). In parentheses after the texts their genre was indicated - “annoying fairy tale”:
“Once upon a time there was a crane and a sheep, they mowed a haystack - shouldn’t I say it again from the end?”
“There was Yashka, he was wearing a gray shirt, a hat on his head, a rag under his feet: is my fairy tale good?”
Amusing folklore
Nursery rhymes- small rhyming sentences that aim not only to amuse children, but also to involve them in the game.
Among the jokes we must include fables-shifters - a special type of rhyme songs that came into children's folklore from buffoon and fair folklore and cause laughter because they are deliberately displaced and the real connections of objects and phenomena are broken.
In folklore, fables exist both as independent works and as part of fairy tales. At the center of the fable is a obviously impossible situation, behind which, however, it is easy to guess correct position things, because the shapeshifter plays out the simplest, well-known phenomena.
Techniques of folk fables can be found in abundance in original children's literature - in the fairy tales of K. Chukovsky and P. P. Ershov, in the poems of S. Marshak. And here are examples of folk tales-shifters:
Tongue Twisters- folk poetic works built on a combination of words with the same root or similar sound, which makes them difficult to pronounce and makes it an indispensable exercise for speech development. Those. tongue twisters - verbal exercises for quickly pronouncing phonetically complex phrases.
There are genres in children's folklore, reflecting relationships between children, child psychology. These are the so-called satirical genres: teasers and teases.
Teasers- short mocking poems ridiculing this or that quality, and sometimes simply attached to a name - a type of creativity almost entirely developed by children. It is believed that teasing passed on to children from an adult environment and grew out of nicknames and nicknames - rhyming lines were added to the nicknames, and a tease was formed. Now a tease may not be associated with a name, but make fun of some negative character traits: cowardice, laziness, greed, arrogance.
However, for every tease there is an excuse: “Whoever calls you names is called that!”
Underdress- a type of teaser containing a question fraught with a crafty catch. Suspenders are a kind of word games. They are based on dialogue, and dialogue is designed to take a person at his word. Most often it begins with a question or request:
- Say: onion.
- Onion.
- A knock on the forehead!
Mirilki- in case of a quarrel, peace-making sentences have been invented.
Don't fight, don't fight
Come on, make up quickly!
Game folklore
Counting books- short, often humorous poems with a clear rhyme-rhythm structure, which begin children's games (hide and seek, tag, rounders, etc.). The main thing in a counting rhyme is the rhythm; often the counting rhyme is a mixture of meaningful and meaningless phrases.
Game songs, choruses, sentences- rhymes that accompany children's games, commenting on their stages and the distribution of roles of participants. They either start the game or connect parts of the game action. They can also serve as endings in the game. Game sentences may also contain the “conditions” of the game and determine the consequences for violating these conditions.
Silent women– rhymes that are recited for relaxation after noisy games; After the poem, everyone should fall silent, restraining the desire to laugh or speak. When playing the game of silence, you had to remain silent for as long as possible, and the first person to laugh or let it slip would carry out a pre-agreed task: eat coals, roll in the snow, douse yourself with water...
And here is an example of modern silent games that have become completely independent games:
Hush hush,
Cat on the roof
And the kittens are even taller!
The cat went for milk
And the kittens are head over heels!
The cat came without milk,
And the kittens: “Ha-ha-ha!”
Another group of genres - calendar children's folklore- is no longer associated with the game: these works are a unique way of communicating with the outside world, with nature.
Calls- short rhymed sentences, appeals in poetic form to various natural phenomena, having an incantatory meaning and rooted in the ancient ritual folklore of adults. Each such call contains a specific request; it is an attempt, with the help of a song, to influence the forces of nature, on which the well-being of both children and adults in peasant families largely depended:
Bucket sun,
Look out the window!
Sunny, dress up!
Red, show yourself!
Sentences- poetic appeals to animals, birds, plants, which have an incantatory meaning and are rooted in the ancient ritual folklore of adults.
Fly to the sky
Your kids are there
Eating cutlets
But they don’t give it to dogs,
They just get it themselves.
Horror stories- oral stories-scarecrows.
Children's folklore is a living, constantly renewed phenomenon, and in it, along with the most ancient genres, there are relatively new forms, the age of which is estimated at only a few decades. As a rule, these are genres of children's urban folklore, for example, horror stories - short stories with a tense plot and a frightening ending. As a rule, horror stories are characterized by stable motifs: “black hand”, “bloody stain”, “ green eyes", "coffin on wheels", etc. Such a story consists of several sentences, as the action develops, the tension increases, and in the final phrase it reaches its peak.
"red spot"
One family received a new apartment, but there was a red stain on the wall. They wanted to erase it, but nothing happened. Then the stain was covered with wallpaper, but it showed through the wallpaper. And every night someone died. And the spot became even brighter after each death.
Municipal budgetary preschool educational institution Kindergarten No. 2
Specifics of children's folklore, its genres and classification
Report on the topic of self-education
prepared:
BELYAKOVA OLGA IVANOVNA
music director
“Specifics of children's folklore, its genres and classification”
Purpose: To give the concept of children's folklore, to introduce the genres of children's folklore and their features.
Tasks: 1 .Educational: to give the concept of children's folklore, to introduce students to the main genres of children's folklore, their features, examples of Kazakh and Russian children's folklore.
2. Educational: cultivate a caring and sensitive attitude towards CNT, the richness of the language, and form a culture of speech.
3. Developmental: develop speech, thinking, and outlook of students.
The concept of children's folklore. Types of children's folklore.
Poetry of nurturing (maternal poetry)
Calendar children's folklore.
Game folklore.
Didactic folklore.
"Children's folklore presents
specific area of folk art,
uniting the world of children and the world of adults,
including a whole system of poetic
and musical and poetic genres of folklore"
1. The concept of children's folklore. Types of children's folklore.
Children's folklore. This concept fully applies to those works that are created by adults for children. In addition, this includes works composed by children themselves, as well as those passed on to children from the oral creativity of adults.
By studying children's folklore, you can understand a lot about the psychology of children of a particular age, as well as identify their artistic preferences and level of creative potential. Many genres are associated with games in which the life and work of elders are reproduced, so the moral attitudes of the people, their national traits, and the peculiarities of economic activity are reflected here.
Types of children's folklore.
Children's folklore is divided into several groups:
“Poetry of nurturing” (“maternal poetry”) - lullabies, nurseries, nursery rhymes, jokes
Calendar - nicknames and sentences
Gaming - game refrains and sentences, lotteries, counting rhymes, teasers, poddyovk, changers.
didactic -
2. Poetry of nurturing (maternal poetry)
In the system of genres of children's folklore, “nurturing poetry” or “maternal poetry” occupies a special place. This includes lullabies, nurseries, nursery rhymes, jokes, fairy tales and songs created for the little ones
“Nurturing poetry” is associated with the upbringing of young children, with care and concern for them.
Lullabies (from the word “tales” - “to babble, speak, whisper, conspire”) – works of oral folk art, songs that help rock and put a child to sleep.
At the center of all “mother’s poetry” is the child. They admire him, pamper him and cherish him, decorate him and amuse him.. The baby is surrounded by a bright, almost ideal world in which love, goodness, and universal harmony reign and conquer.
Gentle, monotonous songs are necessary for the child's transition from wakefulness to sleep. From such an experience a lullaby was born. In her songs for the baby, the mother includes what is understandable and pleasant to him. This is a “gray cat”, “a red shirt”, “a piece of pie and a glass of milk”, “a crane. These words also give the first skills of native speech.
The rhythm and melody of the song were obviously born from the rhythm of the rocking of the cradle. Here the mother sings over the cradle:
Baiushki bye!
Save you
And have mercy on you
Your angel -
Your keeper.
From every sight
I cry from everything
From all sorrows,
From all misfortunes:
There is so much love and ardent desire to protect your child in this song! Simple and poetic words, rhythm, intonation - everything is aimed at an almost magical spell.
A frequent character in the lullaby is a cat. He is mentioned along with the fantastic characters Sleep and Dream. .
Folk pedagogy included in the lullaby not only kind helpers, but also evil, scary, and sometimes not even very understandable ones (for example, the ominous Buka). All of them had to be cajoled, conjured, “taken away” so that they would not harm the little one, and maybe even help him.
By singing songs, the baby’s ear is taught to distinguish the tonality of words and the intonation structure of native speech, and the growing child, who has already learned to understand the meaning of some words, also masters some elements of the content of these songs.”
Bye-bye-bye-bye,
Sleep, my dear, sleep.
Pestushki ( “to nurture” - “to nurse, raise, follow someone, carry in one’s arms, educate”) - short poetic sentences that accompany the baby’s movements in the first months of life. Pestushki(from the word “nurture” - educate) are associated with the most early period child development. The mother, having unswaddled him or freed him from clothes, strokes his body, straightens his arms and legs, saying, for example:
Pull-ups,
Across the fatties,
And there are walkers in the legs,
And in the hands there are grabbers,
And in the mouth there is a talk,
And in the head - reason.
Thus, pestles accompany the physical procedures necessary for the child. Their content is associated with certain physical actions. The set of poetic devices in pestushki is also determined by their functionality. Pestushki are laconic. “The owl is flying, the owl is flying,” they say, for example, when waving a child’s hands. “The birds flew and landed on his head,” - the child’s hands fly up to his head. And so on. There is not always a rhyme in pestushki, and if there is, then most often it is a pair. The organization of the text of the pestles as a poetic work is achieved by repeated repetition of the same word: “The geese flew, the swans flew. The geese were flying, the swans were flying..."
Water, water, wash my face,
To make your mouth laugh,
So that the tooth bites.
Nursery rhymes are songs that accompany a child’s games with fingers, arms, and legs.
The white-sided magpie cooked porridge and fed the children...
Nursery rhymes- a more developed game form than pestles. Nursery rhymes entertain the baby and create a cheerful mood. Like pestles, they are characterized by rhythm:
Tra-ta-ta, tra-ta-ta,
A cat married a cat!
Kra-ka-ka, kra-ka-ka,
He asked for milk!
Dla-la-la, dla-la-la,
The cat didn’t give it!
Sometimes nursery rhymes only entertain (like the one above), and sometimes they instruct, giving the simplest knowledge about the world. By the time the child is able to perceive meaning, and not just rhythm and musical harmony, they will bring him the first information about the multiplicity of objects, about counting. This is how thought processes begin in his mind.
Forty, forty,
White-sided,
I cooked porridge,
She lured guests.
Porridge on the table
And the guests to the yard.
The first - porridge,
The second - brews,
To the third - beer,
The fourth - wine,
And the fifth one got nothing.
Shu, shu! She flew away and sat on her head.
Perceiving the initial score through such a nursery rhyme, the child is also puzzled by why the fifth one did not get anything. Maybe because he doesn't drink milk? Well, the goat butts for this - in another nursery rhyme:
Who doesn't suck a pacifier?
Who doesn't drink milk?
Togo - boo! - gore!
I'll put you on the horns!
The edifying meaning of the nursery rhyme is usually emphasized by intonation and gestures. Thanks to this, the educational and cognitive potential of nursery rhymes turns out to be very significant.
Jokes are songs reminiscent of little fairy tales in verse.
Dili-dili-dili-don, the cat's house caught fire.
The cat jumped out, its eyes bulging,
A chicken runs with a bucket and floods the cat's house.
Petya-Petya-Cockerel, golden comb,
Oil head, silk beard,
Why do you get up early and don’t let the kids sleep?
joke called a small funny work, statement or simply a separate expression, most often rhymed. Entertaining rhymes and joke songs also exist outside the game (unlike nursery rhymes). The joke is always dynamic, filled with energetic actions of the characters. We can say that in a joke, the basis of the figurative system is precisely movement: “He knocks, strums along the street, Foma rides on a chicken, Timoshka on a cat - along the path there.”
3. Calendar children's folklore.
Calendar children's folklore includes such genres as
nicknames And sentences(these terms were introduced by a famous linguist).
Calls(" call out» - “to call, ask, invite, contact”) – appeals to the sun, rainbow, rain, the words of which are shouted out in unison in a sing-song voice.
Rainbow-arc, don't let it rain,
Come on bell sun.
Sentences - appeals to living beings (mouse, snail, bugs), pronounced by each child one by one.
Ladybug, fly to the sky,
Your kids eat candy there.
Zaklichki in their origin are associated with the folk calendar and pagan holidays.
In games that have survived to this day and include chants and sentences, traces of ancient magic are clearly visible. These are games held in honor of the Sun (Kolyada, Yarila) and other forces of nature. The chants and choruses accompanying these games preserved the people's faith in the power of words.
4. Playful children's folklore.
Playful children's folklore is represented by such genres as
game choruses and sentences,
lotteries,
counting rhymes,
teases,
undershirts,
shifters.
Game refrains, sentences - rhymed poems containing the conditions of the game, starting the game or connecting parts of the game action.
The meaning of game choruses, sentences– instill love and respect for the existing order of things, teach rules of behavior.
There are mushrooms and berries from the bear in the forest,
But the bear is not sleeping and is looking at us.
Don't say "yes" or "no"
Don't wear black and white
Don't pronounce the letter "R".
Covenant of lots - a rhyming appeal to the “uterus”, with the aim of dividing into teams.
A pouring apple or a golden saucer?
A counting rhyme is a rhymed poem consisting of invented words with emphatically strict adherence to rhythm.
Counting rhymes are funny and rhythmic rhymes, to which a leader is chosen and the game or some stage of it begins. Counting tables were born in the game and are inextricably linked with it.
Tarya-Marya went to the forest,
She ate cones, she told us,
But we don’t eat pine cones,
We'll give it to Tara-Mara.
Teaser is a rhyming addition to a name.
Arkhip is an old mushroom.
Andrey is a sparrow, don’t chase the pigeons,
Chase the ticks from under the sticks.
Teddy bear, Near the ear - a bump.
Poddyovka is a small folklore genre of humorous content based on a play on words.
Say two hundred.
Two hundred.
Head in dough!
-Say cock.
-Rooster.
-You're rotten!
All these are works of small genres, organic to children's folklore. They serve the development of speech, intelligence, and attention. Thanks to the poetic form of a high aesthetic level, they are easily remembered by children.
Fables, inversions, nonsense . These are varieties of the joke genre. Thanks to “shifters,” children develop a sense of the comic as an aesthetic category.
"is inherent in almost every child at a certain stage of his development. Interest in them, as a rule, does not fade among adults either - then it is not
educational, but the comic effect of “stupid absurdities”.
In the middle of the sea the barn is burning.
The ship is running across an open field.
Men are stabbing people on the street,
They strike and catch fish.
A bear flies across the sky,
He's wagging his long tail!
A village was driving
Past the man
Suddenly from under the dog
The gates are barking.
Snatched the cart
He's from under the whip
And let's bludgeon
Her gate.
The rooftops got scared
We sat on the raven,
The horse is racing
A man with a whip.
5. Didactic folklore.
The purpose of didactic children's folklore is the education and development of children, the transfer of accumulated experience to them, and equipping them with the knowledge necessary for adult life.
The genres of didactic folklore include tongue twisters, riddles, proverbs and sayings.
Tongue twister is the rapid repetition of difficult to pronounce words and phrases.
The meaning of tongue twisters– setting clear diction.
From the clatter of hooves, dust flies across the field.
The crow missed the crow.
They belong to the funny, entertaining genre. .
The cap is sewn,
Yes, not in the Kolpakov style.
Who's that cap?
Repacked?
Riddle is a genre of folklore that refers to features and properties inherent only to the mystery object. Usually intended as a guessing question.
The meaning of riddles– develop the mind, make it possible to accurately determine the subject.
: Length like a road
Short, like a flea. (life)
I, like a grain of sand small and covering the earth,
I am from water, and I give birth to it myself.
Like fluff I'm lying in the fields
AND, like a diamond I shine in the sun's rays. (snow)
A proverb is an apt folk saying, usually consisting of two parts, the second part explains the first.
If you are afraid of wolves, do not go into the forest.
If you want to ride, you also want to carry a sled.
A proverb is an apt saying devoid of instructive meaning.
The master's work is afraid.
Do not count your chickens before they are hatched.
A horseman is judged by his deeds.
All these genres of folklore, set to music, are children's musical folklore.
To summarize, we can say that folklore plays a vital role in the development of children. Folklore not only develops a child’s speech, but also allows him to learn moral standards. Folklore works represent a unique means of transmitting wisdom accumulated over many generations.
Literature:
1. Current problems of artistic education of children of preschool and school age: Collection. – M., 1983.
2. folklore in the context of modern culture. – M.,
Soviet composer, 1988.
3. Vetlugina child development. – M.: Education 1968 – 415 p.
4. Vinogradov folk calendar. – Siberian Living Antiquity, Irkutsk, 1924 issue 2, 1. 55-86.
5. Education and training in kindergarten. – M., 1976.
6. Vygotsky and her role in mental development child. M.:
State Publishing House of the RSFSR, 1930.
7. About collectivity in folklore. Dialectics of personal and mass creativity. Specificity of folklore genres. L.: Nauka, 1967.
8. Children's life and folklore. Collection /Ed. . – L.: State Publishing House. Rus. Geographical society, 1930.
The life of children is closely connected with the life of adults, but the child has his own vision of the world, determined by age-related mental characteristics. Young children perceive all the diversity of the world differently than adults. Adults think, wrote K.I. Chukovsky, “with words, verbal formulas, and small children - with things, objects of the objective world. Their thought at first is connected only with specific images.” The choice of poetic images and the entire composition of children's folklore are determined by the characteristics of the child's psyche. Poetic works, passed on from one generation to another for many centuries, gradually acquired content and form that most fully corresponded to the laws of children's aesthetics. Children's folklore contains the key to understanding developmental psychology, children's artistic tastes, and children's creative potential.
Thus, children's folklore is a specific area of folk art that unites the world of children and the world of adults, including a whole system of poetic and musical-poetic genres of folklore.
Many children's songs and games reproduce times and events long lost in the memory of the people. Children's folklore helps historians and ethnographers better understand the life, way of life, and culture of our ancestors.
Many children's amusements are a "comic imitation of the serious business of adults" as a means of preparing children for life. They reflect production and economic activity, national psychological traits and the social life of the people.
V.I. turned to children's folklore as a means of linguistic characterization of the people. Dahl, D.K. Zelenin, P. Tikhanov, A. Molotilov and many other language experts.
There is no consensus on the genesis of individual genres of children's folklore, their poetics, and there is no generally accepted classification yet. Almost every researcher puts forward his own classification scheme. O.I. Kapitsa theoretically substantiated what was laid down in the work of P.A. Bessonov's division of children's folklore according to the age gradation of children. She also included mother's poetry as children's folklore. G.S. resolutely opposed this. Vinogradov. He considered the poetry of nurturing to be a special area of adult folklore. He classified only fairy tales created by children themselves as children's folklore. Fairy tales created by adults for children, as a means of folk pedagogy - to the folklore of adults. Conclusions O.I. Kapitsa are diametrically opposed. Fairy tales created by children, in her opinion, generally cannot be the subject of research in folklore and ethnography. G.S. Vinogradov identified five main sections of children's folk poetry: play folklore, amusing folklore, satirical lyrics, everyday folklore and calendar folklore. This classification is based on domestic use. O.I. Kapitsa took into account not only the age gradation of the speakers of children's folklore, but also the genesis of poetry. V.P. also adheres to the genetic principle (poetry by adults for children, works that have fallen out of the folklore of adults and assimilated by children, children’s own creativity). Anikin. V.A. Vasilenko, having proclaimed the functional principle of classification, does not substantiate it and practically does not adhere to it, highlighting:
1) lullabies, or stories;
2) works related to gaming activities;
3) works that occupy children with verbal content and are performed independently of game actions, and later leaves only the last two groups.
M. Gorky wrote: “A child up to the age of ten requires fun, and his demand is biologically legitimate. He wants to play, he plays with everyone and learns about the world around him, first of all and most easily in play, through play.” This requirement for fun predetermines the playful beginning of all genres of children's folklore. If a particular genre is not associated with the child’s play actions, then the game is played at the level of meaning, concept, word, sound. Dividing children's folklore into play and non-play does not bring us closer to understanding the complex system of genres. There is no doubt about the legitimacy of highlighting adult poetry intended for children in children's folklore. This is the poetry of nurturing (lullabies, nurseries, nursery rhymes, jokes, boring fairy tales). There is certainly the presence in the children's oral poetic repertoire of works that have fallen out of the repertoire of adults - actual children's creativity. That is, the system that V.P. most consistently adheres to. Anikin, accurately captures a lot of the composition and genesis of children's folklore, but cannot be the basis of a working classification, since all the genres of children's folklore, which he classified in the third group - children's own creativity (counting tables, lottery agreements, teasers, quilts, tongue twisters) are built , as the analysis shows, based on direct or indirect borrowings from literature, popular prints, and adult folklore.
During the lullaby period, children are only consumers of poetry. Raising children depends entirely on adults. Mothers (grandmothers, nannies) created nurturing poetry (maternal poetry) for pedagogical purposes.
Almost all researchers highlight the gaming folklore of children. But everyone gives this term its own meaning. G.A. Bartashevich attributes counting rhymes, game songs and sentences to it. V.A. Vasilenko, in addition, is pestushki, nursery rhymes. All other genres of children's folklore, including lullabies, are designated as “poetry of verbal games” and thus destroys its own classification based on the concepts: playful - not playful.
The group of gaming folklore should include all varieties of children's role-playing games, game preludes (counting tables, drawing lots). Game refrains and game sentences, identified by some researchers, cannot be studied outside of the dramatic game of which they are a component.
It is advisable to follow G.S. Vinogradov to highlight amusing folklore, or fun that is not associated with dramatic action, the game basis of which is in words and auxiliary actions (cuts, golosyanki) or only in words (verbal games, flip-flops, tongue twisters, silence, poddevki). The purpose of these works, as defined by G.S. Vinogradov - to entertain, amuse, amuse yourself and your comrades.
Researchers of children's folklore distinguish “calendar” children's folklore, trying to unite into a single group genres that are not related to nurturing poetry, playful and amusing folklore. These are children's songs, chants and sentences, ritual songs, teasers, children's fairy tales, riddles, horror stories. G.S. Vinogradov combines them into three groups: satirical lyrics, calendar and everyday folklore.
In principle, all genres of folk poetry are everyday, that is, they are closely connected with everyday life. But the poetry of nurturing, with a dominant educational function, is “introduced” into the life of children by adults. The genres of playful or amusing folklore are naturally united by their functionality and manner of execution. Each genre of the fourth group has its own function, its own poetics, and an excellent manner of performance. Some genres can be defined as verbal, others as narrative, and others as songs. And obviously, for lack of better terminology, it is advisable to combine them into the group of everyday folklore.
Proverbs, songs, rituals, and fairy tales, while giving people aesthetic pleasure, also carried a certain amount of vital information. Popular views on education have found their expression in hundreds of proverbs and sayings (“Love a child, but don’t abuse”, “Teach a child while he lies across the bench, but if he lies along, it’s too late”, “Like in the cradle, like in the grave”, “The apple never falls far from the tree” and many others). Fairy tales show the role of laughter in people's lives, the power of love, class-based morality (numerous tales about priests and workers, bars and men, etc.).
Only deep and comprehensive knowledge of psychology Childhood could serve as the basis for the creation of the richest poetry of nurturing, which has genres of poetry specific to each period of a child’s life. In the works of maternal poetry, various methods of education are enshrined.
Brought to life “almost exclusively by pedagogical needs,” and perhaps precisely for this reason, works of maternal poetry are often highly artistic poetic creations. For many centuries, they not only teach, improve the mind, and educate morally, but also provide incomparable aesthetic pleasure to children. To be convinced of this, it is enough to observe the child’s behavior in the intimate environment of nurturing. It is difficult to understand the artistic significance of nurturing poetry from its printed examples, which represent nothing more than an approximate verbal outline of these works.
Considering the genre as a function expressed in the artistic structure, it seems appropriate to distinguish the following genres of nurturing poetry based on a combination of characteristics: lullabies, pestushki, nursery rhymes, jokes, and boring fairy tales.
LULLABIES
The name of the songs that are used to lull a child to sleep - lullabies - comes from the base kolyvat (to sway, swing, rock). Hence the cradle and stroller. In popular usage there was also the name “bike” - from the verb baykat (to lull, rock, put to sleep). Dozens of folklorists, ethnographers, doctors, and teachers have been collecting and studying lullabies since the first half of the 19th century.
The most significant contributions to the study of the genre were made by A. Vetukhov, G. Dobryakov, G.S. Vinogradov, O.I. Kapitsa, M.V. Krasnozhenova, G.A. Bartashevich, A.N. Martynov.
People valued lullaby songcraft and passed it on from generation to generation. As soon as the daughter begins to play with her dolls, her mother teaches her how to “bait” correctly. This lesson is not just fun between mother and child and is not wasted. In a Russian peasant family, girls from the age of 6-7 already became nannies for their younger brothers and sisters, or were even hired into other people's families.
All this gives grounds to assert that the lullaby song is brought to life by the everyday, pedagogical needs of the people. A lullaby is an element of everyday life.
PESTELS
According to the rules of folk pedagogy, in order to raise a physically healthy, cheerful and inquisitive person, it is necessary to maintain joyful emotions in the child during his waking hours. At first, while the child does not yet understand the meaning of words, this is achieved with the help of some physical techniques, somewhat reminiscent of physical exercises. Having unswaddled the child, the mother or nanny with both hands, lightly squeezing the child’s body, runs several times from the neck to the feet. This kind of massage helps restore blood circulation and stimulate the vital activity of the whole organism, which is very important during the period of initial growth. Not every mother is aware of the need for this procedure; one out of a hundred will explain its physiological significance, but folk pedagogy has empirically come to the conclusion of the unconditional usefulness of this technique and enshrined it in poetic works passed down from generation to generation. The mother would have forgotten when and how to do this procedure, how to measure the time, if a simple song had not come to her aid: .
Stretch, grow, and in the hands of the fat,
Across the fat woman, And in the mouth there is a talk,
And in the legs there are walkers, And in the head there is a mind.
The poem is simple. Its execution does not require either enhanced memory work or special vocal skills, but it has everything: an understanding of the significance of this technique both for the growth of the body (“Stretch, grow, Across the fat one”), and for the development of the child’s motor functions (“And in the legs walkers, And in the hands of fatunyushki"), both for mental and moral development("And there is talk in the mouth, And there is intelligence in the head"). The knowledge enshrined in a poetic work serves as a means of transmitting cultural heritage from one generation to another, and serves as a guide to action for any young mother or nurturer.
Nurture... - according to V.I.’s dictionary Dalia, - (from supply? or not from metacarpus is it? from wearing on your hands?), nurse, carry, bear a child in your arms, educate, raise, groom, follow him, be a man, give a man... Do not mix, in derivatives, with pestle-"pusher..."
O.I. most correctly understood the specifics of works of this kind. Kapitsa singled them out into a special group. Her point of view was shared by V.P. Anikin.
Pestushki has all the genre features. The works of this group have a strictly defined everyday function: they are a set of physical education techniques developed by folk pedagogy. They have a unique structure, determined by the nature and frequency of physical exercises, necessary for the child at one time or another. They have different content from related genres. In lullabies there is either concern for the fate of the child, about his present and future, or the thoughts and experiences of the mother; In nursery rhymes, educational and entertaining elements occupy a significant place. Neither one nor the other is characteristic of pestles. The content of pestles is specific and concerns only issues of physical education, only those actions that are performed, their expected results.
Pestlets are brief. Usually this is one simple common or complex sentence. The dialogical form is rare and is an exception (“Legs, legs, where are you running? - Into the woods up to the midges...”).
Pestushki are accompanied by joke plots full of naive simplicity and charm. They bathe the child and, so that he does not cry when pumping water, cheerfully say:
Water is off a duck's back, / Water is off a duck's back, / Petya is thin, / Petya is thin.
If a child hurts himself, which happens almost every day, he seeks protection and salvation from the pain from his mother. And the mother, blowing on the sore spot or stroking it, says:
The magpie is in pain, Fedenka is in pain.
The crow is in pain, Fedenka is in pain. .
All these conspiracies are emphatically comic in nature, but due to the child’s faith in the power of the mother, they help and calm him down.
Some pestles, becoming more complex and developing their playfulness, move into the genre of nursery rhymes.
Nursery rhymes are usually called special games for adults with small children, in which various parts of the body of the child and the adult are used. Nursery rhymes are also called songs - sentences that organize these fun. A purely philological study of these sentences outside the game is illegal and impossible.
Many warmer songs in the recording are close in form to lullabies, but the nature of their performance, everyday purpose, emotional and melodic basis and pedagogical impact are completely different. If the monotonous melody of a lullaby calms the child, equal rhythmic units lull him to sleep, then the nursery rhyme is intended to amuse, amuse, amuse the child; Accordingly, the rhythm of the song changes, it is not always sung, it is often said, the words are accompanied by playful actions, they provide the child with the necessary information, etc.
The most prominent Siberian collector M.V. left evidence in her notes about the skillful use of nursery rhymes for pedagogical purposes. Krasnozhenova. She wrote that A.N. Shirokova nurtures her daughter, teaching her to know the names of parts of the face and head:
The nose is cakey! The nose is like a cake!/Our cheeks are buns.
Ay, lyulenki, lyuli, /We have bun cheeks!
Teeth are like tonsils, / And eyes are like currants... etc.
Introducing new information into the child’s consciousness using a similar method always turns out to be fruitful, because it is colored by the child’s aesthetic sense.
Nursery rhymes are the first step of the ladder leading to knowledge of the riches of the Russian language, to the assimilation of folk poetry.
And these days there are numerous versions of well-known nursery rhymes: “Ladushki-ladushki”, “The White-sided Magpie”, “The Horned Goat is Coming” and some others.
JOKES
Nursery rhymes give way to jokes. A joke usually means “a funny short story or a funny expression that gives the speech a humorous touch.” In children's folklore, this term has long been used to unite rhymes and songs that entertained and amused children. They differ from nursery rhymes (amusements) in that they are not accompanied by certain game actions. Some scientists (G.N. Potanin, V.I. Dal, A.F. Mozharovsky, A. Markov), apparently based on the presence of humorous tendencies, classified works of other genres as jokes: counting rhymes, flip-flops, tongue twisters, teasers, etc. .d.).
It is interesting to trace the process of the formation of jokes. As long as the child’s actions are limited by the walls of the hut, communication with the outside world - communication with family and friends, until the child has entered into a group of equals and created his own world of “life-game”, his external impressions are extremely limited. This could slow down the process psychological development, but by the end of the “lullaby” period (2-5 years), the child already has an extensive vocabulary, sufficient to introduce vital information about objects and phenomena that lie beyond personal experience and concrete sensory perception of reality, and such strong primary ideas, that it is possible to play with concepts at the level of meaning; He is so fluent in speech that word play is possible. Nursery rhymes not only prepared the child for play, revealed to him the aesthetic essence of the game, but also brought up aesthetic needs that can only be satisfied through play and play. The emergence of the genre of jokes as games between adults (pestunia) and children at the level of word, concept, meaning was thus predetermined in all its parameters. The joke is designed to transform the child’s small, closed world into an “open” and infinitely diverse world, to raise the child to understanding social problems, class relations and some philosophical categories, which is vital for him.
In jokes and sayings one can feel a tendency towards the poetic organization of the text (measurement of lines, repetitions, sometimes rhyme, assonance, etc.). Jokes have long been no longer an asset in the pestunia repertoire. Almost all of them were recorded from elderly women. Better preserved jokes are parables and dialogic jokes. But they too are gradually leaving the pestunia repertoire.
BORING TALES
Pestunians often use boring fairy tales. This term was introduced into scientific use by V.I. Dahl. He first published these works in 1862. There are five texts in total.
The term “boring fairy tale” is used to combine jokes - jokes of a fairy-tale nature, with which storytellers entertain children or try to discourage their extreme interest in fairy tales. A boring fairy tale is offered instead of a fairy tale.
Boring fairy tales, while remaining primarily a genre of maternal poetry, are also widely used among children.
A boring fairy tale is close in narrative form and poetics to a fairy tale and a saying (rhyme), and in content and purpose - to a joke.
The fairytale narrative is always disrupted by mockery. There are different types of bullying. Sometimes it is quite harmless, for example, immediately after the beginning it is announced that the fairy tale is over:
Once upon a time there were two geese.., It was summer outside, under the window of the trap,
That's the whole fairy tale! The dace is in the catch - the end of the fairy tale!
Sometimes it is mockingly suggested to wait for who knows how long:
The bones got wet again, and when they get wet, then I’ll tell you!
In some texts the mockery is grossly insulting. But most often the mockery lies in the fact that the last words of the text do not end the boring tale, but serve as a bridge to the repetition of the same text. The fairy tale is repeated several times and discourages children from reading fairy tales.
Growing up, children themselves use boring fairy tales to have fun and make fun of their younger ones. The fairy tale “About the White Bull” is most readily used.
There are boring fairy tales even today. The most popular texts are: “The priest had a dog,” “Once upon a time there were two geese,” “Once upon a time there was a grandfather and a woman,” “A bear came to a ford,” “About a white bull.”
Boring fairy tales contribute to the development of self-control, moderation in desires, and a sense of humor.
Riddles were common in Rus' in ancient times. Their connection with allegorical speech is obvious as a game, as a mental competition of youth. Dozens of studies have been devoted to the mystery. The artistic form of riddles, their content, the history of development have been studied, various groups of riddles have been identified (riddles-metaphors, onomatopoeic images, humorous questions, riddles-tasks, etc.).
It is generally accepted that in ancient times a riddle had a certain meaning in ancestral and military diplomacy (a riddle is a cipher, a code), in a marriage ceremony, etc., it served as a means of testing wisdom, and had educational value: with the help of riddles, folk knowledge, folk wisdom passed on to younger generations. There was a calendar timing for the use of riddles.
There are no exact indications when the riddle passed on to children, but already in the 19th century it simultaneously existed in the repertoires of both adults and children, and was introduced into educational literature. This was a fact of recognition of her pedagogical value.
The researchers saw the pedagogical value of riddles in the fact that it introduces the child “to the joy of thinking,” directs attention to objects and phenomena and their outstanding features, encourages them to delve deeper into the meaning of the verbal designations of these features, increases the ability and certainty of thinking and the power of imagination.
The riddle, thus, stimulates the mental activity of children and instills a taste for mental work.
The riddle reveals to children the metaphorical riches of the Russian language. Metaphors are not typical for children's folklore, and getting to know them actually begins with a riddle.
Riddles of book origin are widely included in the repertoire: “We bought a white wardrobe, there’s a little bit of winter in it” (refrigerator); “Seven steps of a ladder, on the steps there is a song” (sheet music).
Sonorous, poetically perfect riddles are very popular: “The pear is hanging - you can’t eat it” (light bulb); “There are steps, but not a house, everyone is already familiar with it” (rocket); “A round little one, ripe as a watermelon, flew around the whole earth and landed on the moon” (spaceship).
GAME FOLKLORE
Play occupies an exceptional position in a child’s life. It begins in the early cradle period and is initially an expression of purely physiological needs and impulses. Over time, it becomes the main occupation of the child, acquires social characteristics and represents ardent, tireless, but at the same time cheerful work, with the help of which the spirit and body of the child energetically develop, knowledge and experience are implanted in him and the first foundations are laid for his future activities in life. For a child, every game is serious, or while playing, he lives. Only then does he live, then only does he exercise, then only does he grow his soul and body when he plays.
Centuries pass, living conditions change, the worldview of the people changes, ancient rituals lose their former value in the eyes of adults, become a means of entertainment and, finally, are completely forgotten. Why then do they persist for so long in children's games? The fact is that children acquired valuable qualities for life in the process of playing. For thousands of years, games have been an indispensable and almost the only means of physical, military and mental training for children, a means of moral and aesthetic education. According to the deeply correct conclusion of V.P. Anikin, they “combine the important principles of practical pedagogy, art and a harmonious system of physical education.” The people understood the pedagogical value of children's games and took every possible care of their safety. Without exaggeration, we can say that children's games are one of the greatest achievements of the people's pedagogical genius.
The games reflected national traits, the way of life of the people, their worldview, social life; from them, with a high degree of probability, one can judge the history of the people. Most folk games are inherited by children from adults.
Games and play songs, which in the first third of the 19th century were widespread throughout Russia and enjoyed the popularity and love of adults, moved into the children's repertoire by the second half of the 19th century. Children were most attracted role-playing games with well-developed dramatic action. Based on the degree of transformation of the song text, one can tell when a particular game passed from adults to children. The rich children's song tradition contributed to the rapid adaptation of song material received from adults to children's poetics.
PLOT CONCLUSIONS
A children's group is unthinkable without games. Each game has its own rules that have the force of unwritten laws. Many children's games, especially those with a sports bent (lapta, towns, "Dogs and Foxes", etc.), require a certain balance of power.
This is not so easy to do. According to unwritten legal principles, this is not entrusted to any person, but is left to chance.
These works were not the subject of special systematic collection or study. The draw of lots itself is a riddle, but it is necessarily a two-part riddle, in which images are compared or contrasted. The lottery usually rhymes. Sometimes the rhyme is contained in the address: “Mati, mother, what should I give you: oak or birch?”
The largest number of traditional texts are related to the horse. This is a black, gray, golden-maned horse, etc. It is proposed to choose between a horse and a golden saddle, a golden tarantass, a golden collar, and even between a black horse and a daring Cossack. This is far from an accidental phenomenon and not even the result of the influence of adult folklore. For a peasant boy, all the best is associated with a horse almost from the cradle. Children early began to understand that the horse was the breadwinner, but they were even more fascinated by the swiftness and beauty of the horse’s running, this impression was strengthened by legends about horses that saved lives; from the age of 5-6, children were already riding horses and working. The horse is both the closest, most understandable image, and the object of admiration, a passionate dream of brave prowess. That is why the horse took such an honorable place in these boyish works and why it is compared only with untold riches. Even caring for a peasant horse is an honorable, masculine task, unlike women’s “humiliating” work: “Should I feed the horses or stoke the stove?”, “Uterus, uterus, should I heat the stove or feed the horse?”
A good fellow or a Cossack, who personified the love of freedom and boundless prowess, also occupies a place of honor. Children learn to despise those who are slow, useless capable people. Slowness and cowardice are contrasted with courage and daring: “Tear chains or break bells?”, “Chest in crosses, or head in bushes?”, “Run under the cart or fly under the shirt?” A boy’s dream of traveling (“To be at home or to sail on the sea?”) and closeness to nature (“Foxes in flowers or bears in pants?”) found their expression in these works. Naturally, in their creativity, children rely on folk poetic traditions and use ready-made poetic material.
In terms of the figurativeness of the language and the lexical composition, lot agreements are also closest to riddles. Their language is rich in colorful epithets, comparisons, and metaphors. This, even if the rhyme is lost, does not make the speech prosaic. There is an abundance of action in lotteries.
In recent decades, due to the gradual replacement of traditional children's games with modern sports games, lotteries have also lost their former significance.
COUNTERS
Of all the variety of genres and forms of children's oral folk art, counting rhymes have the most enviable fate. In terms of the power of aesthetic influence on children, in terms of their prevalence, in terms of the number of works, they can be said to have no equal. “Apparently, some fruit-bearing grains are hidden in these unfading works,” wrote the founder of the theory of children’s folklore G.S. Vinogradov.
Counters (popular names: counting, counting, reading, recounting, talkers, etc.) are usually called short rhyming poems used by children to determine the leader or distribute roles in the game.
Competition in saying rhymes forces children to learn more poems and thereby develop memory (cognitive function), learn, children's artistry (aesthetic factor), achieve the right to count - according to children's unwritten laws, this right is not granted to everyone, but only to those in whom others are confident that he will honestly keep score that determines the fate of the players; whoever violates this rule is deprived of the trust of his comrades - the counting rhyme thus contributes to the development of such necessary human qualities as honesty, inflexibility, nobility, a sense of camaraderie (an ethical factor), and, finally, the work itself, when performed well, in an atmosphere of children's romantic enthusiasm for the game, delivers pleasure, develops a sense of rhythm necessary in song, dance, and work (aesthetic factor). Consequently, the counting rhyme carries cognitive, aesthetic and ethical functions, and together with the games, to which it most often acts as a prelude, it contributes physical development children.
The sound organization of the rhymes captivates with its beauty, produces unforgettable impression. Songfulness, in the best sense of the word, is inherent in counting rhymes. There is also direct evidence of their song performance. But the main form of performance of counting rhymes is recitative with scanning.
Russian counting rhymes under various names began to be introduced into scientific circulation in the first half of the 19th century, but especially intensively in the second half of the century and at the beginning of the 20th century. The first fundamental study of counting rhymes as a folklore genre was the monograph by G.S. Vinogradov "Russian children's folklore (1930). The researcher points to the stability of children's counting repertoire. The scientist comes to the conclusion that "school and books have a certain influence on the composition and fate of children's folklore: school and book poems are replaced (how successfully is another question) and are replacing the old rhyme, which does not always and everywhere withstand the onslaught of new forms. These objective observations did not shake G. Vinogradov’s theoretical positions. He still insisted that the characteristic feature of counting rhymes was “indifference to meaning.” In his opinion, the enrichment of rhymes with new words, images, and themes does not occur due to the correct reflection of reality, but “along the path of random associations.” Moreover, he believed that the random choice of verbal and semantic material makes such a rhyme text unclear in structure, vague in content - logical and even emotional, that the fact of replacing traditional rhymes with book poems “is more evidence of a loss of taste, a sense of creativity in the spoken word ".
“In order for the verbal creativity of adults to resonate with children and be assimilated by them in one form or another, it must be in a certain correspondence with the interests and needs of children's world; in other words, it is necessary for children to recognize their intentionality in the work of adults, to grasp their own image of beauty." Natural selection occurs. From adults, from children's books, only that which corresponds to the laws and norms of a given genre enshrined in the poetic tradition comes into children's folklore. If If children’s attention, due to some conditions, is attracted by works that are alien in their poetics to the childish spirit, children’s aesthetics, then they “do not remain unchanged: having passed through a new environment, having been subjected to new influences, new processing, they take on a different form, a new appearance.” .
Let's take a poem by F.N. Miller, which became one of the most popular rhymes: “One, two, three, four, five - The bunny went out for a walk...”
Both old and new records contain a large number of variants of this counting rhyme, in some cases it is increased by a dozen verses. This alone indicates that the poem, in all respects, complies with the laws of the genre. Simple, unsyllabic words, images close to children, the two-syllable foot with a trochaic meter, a favorite in counting rhymes - all this could not help but attract children's attention, and all this suggests that the poem, if not a direct borrowing from the children's counting repertoire, still the author did not escape the influence of children's poetry. But even with this much-loved poem, the children act with the master’s unceremoniousness: they rework the somewhat heavy fourth verse “a gun shoots at him,” introducing an element of endearment, and in the new edition it acquires, in accordance with the laws of children’s aesthetics, the necessary lightness and euphony ( "shoots straight at the bunny"). The rhyme was also improved by replacing the word “runs” in the third verse with the word “runs out.” Numerous versions of this counting rhyme (G. Vinogradov gives 24 options in his collection) indicate what a great job the children did, in what environment the counting rhyme existed, what feelings it evoked in children, what associations. Element of endearment - distinguishing feature most genres of children's poetry. In this rhyme, the children’s sympathy is clearly on the side of the bunny (“bunny”, “bunny”, “zainku”, etc.), but the word “hunter” also receives affectionate suffixes (“hunter”, “hunters”). Doesn’t this indicate that the young hunters “read” the counting rhyme in their own way and gave it their own assessment? Several versions of the text confirm this thought. Here are the hunting techniques (“silently shoots at the bunny”, “shoots the bunny in the left side” and the results of shooting (“straight to the bunny’s left side”, “a bullet straight to the bunny’s forehead”), and the visual and auditory perception of hunting (“bang, druh, and the bunny - wow, the fluff flew out of the bunny"), and the purpose of the hunt ("hoop, hoop - here is the bunny on the table"), and, finally, the undisguised delight from luck ("bang, bang, fluff flew out of the bunny ").
But most children cannot come to terms with the fact of death; it causes fear and disgust. This is reflected in this counting rhyme. The end did not satisfy the children, and they resurrected their beloved bunny, adding two verses (“They brought him home, he turned out to be alive!” In another version, the protest against death went even further (“the bunny went out for a walk, but the hunter did not come, the bunny crossed the field, even with his ear didn't lead").
The reflection of reality in counting rhymes occurs not on the basis of “random associations,” but on the basis of children’s perception and a unique understanding of what is happening. This trend is noticeable both in counting rhymes of book origin and in the original creativity of children, even in miniature works - in counting rhymes:
The car was coming from Tambov, / lost three cars - / one, two, three.
Even counting rhymes, in which counting words dictate the conditions for the development of the plot, and the necessity of rhyming narrows the possibilities for selecting lexical pairs with conceptual meaning, reflected life, passing it through the child’s consciousness and artistically processing it. And, perhaps, there is no aspect of a child’s life to which counting rhymes would not be dedicated. The most striking, although far from sweet, phenomenon was the method of education through punishment. The theme of punishment is heard in eight versions of the rhyme from G. Vinogradov’s collection:
My dad saw me and tore me by the hair. (Turuntaevo)
Mom, dad came running and hit me on the neck. (Omsk)
Considering possible ways classification of counting rhymes, G.S. Vinogradov comes to the conclusion that “almost the only solid basis for classification remains the vocabulary of the works being described.” At first glance, the researcher seems quite justified. The vocabulary of counting rhymes differs sharply from the vocabulary of any other genre of oral folk art and has three clearly visible lexical groups: abstruse, numerals, word-images (concepts). In accordance with this, the researcher distinguishes three groups of counting rhymes: number counting rhymes, abstruse counting rhymes and replacement counting rhymes. He classifies the works as counting numbers,
Counters most often represent a chain of rhyming couplets. The most common are quatrains, six-line and eight-line. There are three-line, five-line, seven-line and longer ones, but much less often. There are also unrhymed poems. They are more often used in couplets and ternets. A wide variety of rhymes are used: paired, cross, enveloping, etc. Almost all counting texts give a combination of male and female rhymes; dactylic rhymes are very rare. There is no definite alternation of rhyme.
“Recounting in a game is an imitation of adults’ preparations in serious life matters,” “counting was passed on to children from adults along with the game that it accompanies.” All this remains a hypothesis until the existence of counting rhymes in adults is documented.
In our opinion, the missing link is found in Sakharov’s “Tales of the Russian People.” He gives evidence of the existence of rhymes among adult brides: “Four or more girls sit on the floor in a circle. Each of them places two fingers on the knees of one. Then the eldest begins to talk quickly:
Firstborns, Friends,/Tryntsy, Volyntsy, Tryntsy...
Pronouncing each of these words, she points to one of the outstretched fingers, and on which the word “throw out” gets, that finger is thrown out." This game is a kind of fortune-telling for girls about the possibility of marriage. The nature of the fortune-telling game is the act that was played only girls-brides, and the text of the counting rhyme suggests that the girls were thus trying to find out which of them would be the first (first-borns), which would be the second (friends), which would be the third (Tryntsy) to get married, and which would have obstacles on the way to marriage ( Volyntsy), etc.
The motives, images and vocabulary of a number of rhymes indicate their relationship with romance and riddle. “What has lost its meaning in the lives of adults and is neglected or completely abandoned, what is carried away by time and completely forgotten, is picked up by children, finds interest in them and is met with a caring attitude.” But for children’s creativity in the genre of counting rhymes, as well as for oral creativity in general, the path of least resistance is inevitable, the desire to use ready-made forms. The changes affected only the form, and not so much the form as the content of the counting rhymes. Everything old, incomprehensible or unartistic from the child’s point of view has disappeared and been forgotten. But children are more willing to resort to partial processing of the text.
Today, counting rhymes remain very popular; they are a rich and developing genre of children's folklore.
The new living conditions of children affected their play repertoire. Formal role-playing games no longer have their former importance, but improvisational games have become richer and more meaningful; plots of lots lose their poetic form, counting rhymes are enriched with new content, and their poetics are improved. Traditional gaming folklore becomes the property of younger children (4-12 years old) and continues to serve effective means moral and aesthetic education.
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Donald Bisset 
A fairy tale about how mother bus taught her little bus not to be afraid of the dark... About the little bus who was afraid of the dark read Once upon a time there was a little bus in the world. He was bright red and lived with his dad and mom in the garage. Every morning …
2 - Three kittens
Suteev V.G. 
A short fairy tale for the little ones about three fidgety kittens and their funny adventures. Little children love short stories with pictures, which is why Suteev’s fairy tales are so popular and loved! Three kittens read Three kittens - black, gray and...
3 - Hedgehog in the fog
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A fairy tale about a Hedgehog, how he was walking at night and got lost in the fog. He fell into the river, but someone carried him to the shore. It was a magical night! Hedgehog in the fog read Thirty mosquitoes ran out into the clearing and began to play...
4 - Apple
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A fairy tale about a hedgehog, a hare and a crow who could not divide the last apple among themselves. Everyone wanted to take it for themselves. But the fair bear judged their dispute, and each got a piece of the treat... Apple read It was late...
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A short story about a mouse who lived in a book and decided to jump out of it into the big world. Only he did not know how to speak the language of mice, but knew only a strange book language... Read about a mouse from a book...
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A fairy tale about a cowardly Hare who was afraid of everyone in the forest. And he was so tired of his fear that he came to the Black Pool. But he taught the Hare to live and not be afraid! Black Whirlpool read Once upon a time there was a Hare in...
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Stewart P. and Riddell K.
The story is about how the Hedgehog, before hibernation, asked the Rabbit to save him a piece of winter until spring. The rabbit rolled up a large ball of snow, wrapped it in leaves and hid it in his hole. About the Hedgehog and the Rabbit A piece...
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Suteev V.G. 
A fairy tale about a cowardly hippopotamus who ran away from the clinic because he was afraid of vaccinations. And he fell ill with jaundice. Luckily, he was taken to the hospital and treated. And the hippopotamus became very ashamed of his behavior... About the Hippopotamus, who was afraid...