Introduction
Folklore is the main means of folk pedagogy. Folk pedagogy is an educational subject and type of activity of adults for the upbringing of the younger generation, the totality and interrelation of ideas and ideas, views and opinions and beliefs, as well as the skills and techniques of the people on the development of education and training of the younger generation, reflected in folk art. This is the mentality of the nation in relation to the younger generation, and educational traditions in the family and society, and the connection and continuity of generations.
Folklore is an invaluable national treasure. This is a huge layer of the spiritual culture of Belarusians, which was formed through the collective efforts of many generations over many centuries. At the present stage of national revival, it is necessary to return to what was achieved by our ancestors.
Belarusian national folklore is one of the richest in the Slavic world. It's saturated pedagogical experience and folk wisdom. On the basis of folklore, a huge layer of ethical and pedagogical ideas was created: respect for elders, hard work, tolerance, goodwill, tolerance for other people's opinions.
Tolerance, tolerance, virtue, as traditional Christian virtues, gradually became distinctive features Belarusians. Moreover, they coexist with such qualities as personal dignity, focus, and activity.
Folklore with educational content, everyday traditions, holidays, Belarusian classic literature- these are the concepts that have a huge impact on the formation national character. It promotes the creative development of children and youth in the world of epics, fairy tales, and legends. Proverbs and sayings can serve as the basis for moral precepts, helping to develop thinking, logic, and interest in the history and culture of the people.
Thus, folklore is the main source of knowledge about the principles of education that have developed in culture different nations, its moral, religious and mythical foundations. The figurative and symbolic nature of artistic creativity, its impact on the emotional and sensory sphere of the individual makes it the most adequate means of unobtrusive and at the same time effective educational influence.
Consideration of this course topic is relevant and interesting at the same time.
The educational potential of folklore is limitless. Today, our society is reviving forgotten ancient traditions, using folk experience, creating new models of educational theories and practices.
Attention to folklore, ancient layers of culture, tradition in general, as an inexhaustible source of education and human development, is manifested in last years especially active in the socio-pedagogical environment. This is due to the functional features of folklore genres, with the deep spirituality and wisdom of folk art, with the continuity of the transmission process national culture from generation to generation.
At the beginning of the new century, there is an increased interest in national culture, ethnic processes, traditional artistic creativity, and folklore. Scientists note a special growth in the historical and national self-awareness of each people, explaining this by socio-psychological and political reasons.
Preservation and development of national culture, one’s roots is the most important task that requires careful attitude to historical and cultural monuments, to traditional folk art. The revival of folklore, folk customs, rituals and holidays, traditional arts and crafts and fine arts is a pressing problem of our time. Folklore, its genres, means, methods most fully fill out the whole picture folk life, give a vivid picture of the life of the people, their morality and spirituality. Folklore reveals the soul of a people, its virtues and characteristics. From a scientific point of view, folklore is a phenomenon that deserves special study and careful evaluation.
Target course work– reveal the significance of folklore in the system of national education.
Coursework objectives:
– characterize the phenomenon of folklore and its educational significance;
– characterize the main genres of folklore, based on the educational potential of each;
– show the practical application of the main folklore genres in education.
The object of this coursework is the multifaceted phenomenon of national folklore, and the subject is the genres of folklore and their educational potential.
Methods used when writing coursework - descriptive, comparative analysis, analysis of literary sources.
folklore educational genre
1. Folklore is a means of national education
1.1 The concept and essence of folklore
The term “folklore” (translated as “folk wisdom”) was first introduced by the English scientist W.J. Toms in 1846. At first, this term covered the entire spiritual (beliefs, dances, music, wood carving, etc.), and sometimes the material (housing, clothing) culture of the people. IN modern science There is no unity in the interpretation of the concept of “folklore”. Sometimes it is used in its original meaning: component folk life, closely intertwined with its other elements. Since the beginning of the 20th century. the term is also used in a narrower, more specific meaning: verbal folk art.
Folklore (eng. folklore) – folk art, most often oral; artistic collective creative activity people, reflecting their life, views, ideals; poetry created by the people and existing among the masses (legends, songs, ditties, anecdotes, fairy tales, epics), folk music (songs, instrumental tunes and plays), theater (dramas, satirical plays, puppet theater), dance, architecture, fine and decorative arts.
Folklore is the collective and tradition-based creativity of groups and individuals, determined by the hopes and aspirations of society, and is an adequate expression of their cultural and social identity.
According to B.N. Putilov, there are five main variants of the meaning of the concept “folklore”:
1. folklore as a set, a variety of forms of traditional culture, that is, a synonym for the concept of “traditional culture”;
2. folklore as a complex of phenomena of traditional spiritual culture, realized in words, ideas, ideas, sounds, movements. In addition to artistic creativity itself, it also covers what can be called mentality, traditional beliefs, and folk philosophy of life;
3. folklore as a phenomenon of artistic creativity of the people;
4. folklore as a sphere of verbal art, that is, the area of oral folk art;
5. folklore as phenomena and facts of verbal spiritual culture in all their diversity.
The narrowest, but also the most stable of these definitions is the one that connects it mainly with the genres of oral folk art, that is, with verbal, verbal expression. This is truly the most developed field of folklore studies, which has contributed huge contribution in the development of the science of literature - a direct descendant, “continuator” of oral folk art, genetically related to it.
The concept of “folklore” also means all areas of folk art, including those to which this concept is usually not applied (folk architecture, folk arts and crafts, etc.), since it reflects an indisputable fact, all types and genres of professional art have their origins in folk art and folk art.
The most ancient types of verbal art arose in the process of the formation of human speech in the Upper Paleolithic era. Verbal creativity in ancient times was closely connected with labor activity human and reflected religious, mythical, historical ideas, as well as the beginnings of scientific knowledge. Ritual actions through which primitive sought to influence the forces of nature, fate, were accompanied by words: spells, conspiracies were pronounced, various requests or threats were addressed to the forces of nature. The art of words was closely related to other types primitive art– music, dancing, decorative arts. In science this is called “primitive syncretism.” Traces of it are still visible in folklore.
As humanity accumulated more and more significant life experience that needed to be passed on to subsequent generations, the role of verbal information increased. The separation of verbal creativity into an independent art form is the most important step in the prehistory of folklore. Folklore was a verbal art organically inherent in folk life. The different purposes of the works gave rise to genres, with their various themes, images, and style. In the ancient period, most peoples had tribal legends, work and ritual songs, mythological stories, and conspiracies. The decisive event that paved the line between mythology and folklore itself was the appearance of fairy tales, the plots of which were perceived as fiction.
In ancient and medieval society, a heroic epic took shape. Legends and songs reflecting religious beliefs also arose (for example, Russian spiritual poems). Later, historical songs appeared, depicting real historical events and heroes, such as they remained in people's memory. With changes to social life societies, new genres also arose in Russian folklore: soldiers', coachmen's, barge haulers' songs. The growth of industry and cities gave rise to romances, jokes, worker, school and student folklore.
For thousands of years, folklore was the only form of poetic creativity among all peoples. But with the advent of writing for many centuries, right up to the period of late feudalism, oral poetic creativity was widespread not only among the working people, but also among upper strata society: nobility, clergy. Having arisen in a certain social environment, a work could become a national property.
1.2 Specific features of folklore
One of the most important specific features of folk oral creativity is collectivity. Each piece of oral folk art not only expresses the thoughts and feelings of specific groups, but is also collectively created and disseminated. However, the collectivity of the creative process in folklore does not mean that individuals did not play any role. Talented masters not only improved or adapted existing texts to new conditions, but sometimes also created songs, ditties, and fairy tales, which, in accordance with the laws of oral folk art, were distributed without the name of the author. With the social division of labor, unique professions arose related to the creation and performance of poetic and musical works (ancient Greek rhapsodes, Russian guslars, Ukrainian kobzars, Kyrgyz akyns, Azerbaijani ashugs, French chansonniers, etc.). Collectivity is not a simple co-authorship, but a special long-term process of improving songs, fairy tales, legends, proverbs and sayings. Collectivity is most clearly manifested in the constant process of selection and polishing of works of folk poetry: from many works, the people choose and preserve the best, similar to their thoughts and aesthetic views. The collective principle in folklore is not opposed to the individual. Folklore is characterized by an organic combination of the collective and the individual, while collectivity does not interfere with the manifestation of the individual abilities of writers and performers.
The oral form of existence of folklore is organically connected with the collectivity of folk art. Folklore appeared earlier than writing and initially existed only in oral transmission. The oral form of existence of folk poetry leads to the emergence of variants of the same folklore work - this is another specific feature of folklore - variability.
Folklore works differ from fiction features artistic form. These features include, first of all, traditional poetics developed by the people over the centuries. Traditional folk symbols, constant epithets, metaphors give folk art a specific flavor.
Folklore is different from written literature and typing features. Literature is characterized by the creation of typical characters in typical settings. Typical character, reflecting the main features of his social environment and his era, manifests itself through the individual qualities of the hero, through his individual and unique appearance. The images of oral folk art do not have such individualization.
1.3 Functions and educational potential of folklore
Firstly, folklore helps to deepen knowledge about folk spiritual culture in its past and present. Folklore introduces you to the life, traditions, and customs of your own and the “neighboring people.”
Secondly, with the help of folklore, the assimilation of moral and behavioral cultural norms and values enshrined in the culture of a nation is carried out. Moral and behavioral norms and values are expressed in a system of images. Revealing the characters fairy tale characters, delving into the essence of their actions, the student understands what is good and what is bad, thereby easily determining his likes and dislikes, and comprehending popular ideas about human beauty. Wise folk proverbs and sayings inform about behavioral norms.
Thirdly, with the help of folklore it is possible to develop a respectful attitude both towards the culture of one’s own ethnic group and a tolerant attitude towards other ethnic cultures. By studying folklore, a child realizes that the people are creators, creators of cultural heritage that should be admired and proud. Folklore is centuries old people's labor, preserving the history of the ethnic group.
Fourthly, folklore contributes to the development of aesthetic taste. The child feels the beauty of folk thought, he has a need to communicate with the people. He strives to understand what means people use in their creativity, and tries to apply them in the future.
Belarusian folklore occupies a special place in the national culture of Belarusians and performs the following functions:
1. aesthetic
2. educational
3. educational
Aesthetic function folklore lies in the fact that it forms artistic taste in children, develops the ability to appreciate and understand beauty, and contributes to the formation of a harmoniously developed personality.
The essence educational function lies in the fact that oral folk art, being a means of folk pedagogy, shapes the qualities of human character. Proverbs, sayings, and fairy tales are filled with high moral and ethical meaning and give characterological assessments of a person from the standpoint of “good” and “bad.”
Cognitive significance of folklore lies in the fact that this is a way for a child to get acquainted with the world around him.
1.4 Genres of folklore
All folklore genres are usually grouped, as in literature, into three groups or three types: dramatic, prose and song.
Any folklore originates in small genres, which include riddles, proverbs and sayings.
A proverb is understood as an apt figurative saying of an edifying nature, typifying a wide variety of life phenomena and having the form of a complete sentence.
Proverbs satisfied many of the spiritual needs of workers: cognitive-intellectual (educational), industrial, aesthetic, moral, etc.
Proverbs are not antiquity, not the past, but the living voice of the people: the people retain in their memory only what they need today and will need tomorrow. When a proverb talks about the past, it is assessed from the point of view of the present and the future - it is condemned or approved depending on the extent to which the past reflected in the aphorism corresponds to people's ideals, expectations and aspirations. (6; 36)
A proverb is created by the entire people, therefore it expresses the collective opinion of the people. It contains a popular assessment of life, observations of the people's mind. A successful aphorism, created by an individual mind, does not become a popular proverb if it does not express the opinion of the majority.
Folk proverbs have a form that is favorable for memorization, which enhances their significance as ethnopedagogical tools. Proverbs remain firmly in memory. Their memorization is made easier by the play of words, various consonances, rhymes, rhythms, sometimes very skillful. The ultimate goal of proverbs has always been education; since ancient times they have acted as pedagogical tools. On the one hand, they contain a pedagogical idea, on the other hand, they have an educational influence and carry out educational functions: they tell about the means and methods of educational influence that correspond to the ideas of the people, they give characterological assessments of the individual - positive and negative, which, in one way or another, determine the goals of personality formation , contain a call for education, self-education and re-education, condemn adults who neglect their sacred duties - pedagogical, etc.
Proverbs contain a lot of practical material: everyday advice, wishes in work, greetings, etc.
The most common form of proverbs is instructions. From a pedagogical point of view, instructions of three categories are interesting: instructions instructing children and youth in good morals, including the rules of good manners; teachings calling on adults to behave decently, and, finally, instructions of a special kind containing pedagogical advice, stating the results of education, which is a unique form of generalization of pedagogical experience. They contain a huge amount of educational material on issues of upbringing. Positive and negative personality traits, according to proverbs, are presented as goals of education and re-education, implying every possible improvement in the behavior and character of people. At the same time, it is noteworthy that all nations recognize the infinity of human perfection. Any person, no matter how perfect he is, can rise to another level of perfection. This step leads not only a person, but also humanity to progress. Many proverbs are motivated and reasoned calls for self-improvement.
The Literary Encyclopedia describes a riddle as “an intricate poetic description of an object or phenomenon that tests the ingenuity of the guesser.” The definitions of a riddle are based on the same features:
– the description is often framed in the form of an interrogative sentence;
– the description is laconic and the riddle has rhythm.
Thus, the mystery is short description an object or phenomenon, often in poetic form, containing an intricate task in the form of an explicit (direct) or implied (hidden) question.
Riddles are designed to develop children's thinking, to teach them to analyze objects and phenomena from various areas of the surrounding reality; Moreover, the presence of a large number of riddles about the same phenomenon made it possible to give a comprehensive description of the subject (phenomenon). But the significance of riddles in mental education is far from being limited to the development of thinking; they also enrich the mind with information about nature and knowledge from a wide variety of areas human life. The use of riddles in mental education is valuable because the totality of information about nature and human society is acquired by the child in the process of active mental activity.
Riddles contribute to the development of a child’s memory, imaginative thinking, and speed of mental reactions.
The riddle teaches the child to compare signs various items, find commonality in them and thereby develops his ability to classify objects and discard their unimportant features. In other words, with the help of a riddle the foundations of theoretical creative thinking are formed.
A riddle develops a child's observation skills. The more observant a child is, the better and faster he solves riddles. A special place in the process of raising children is occupied by the diagnostic function of the riddle: it allows the teacher, without any special tests or questionnaires, to identify the degree of observation, intelligence, mental development, as well as the level of creative thinking of the child.
Proverb - from the simplest poetic works What a fable or proverb is, can stand out and independently turn into living speech, the elements in which condense their content; this is not an abstract formula of the idea of the work, but a figurative hint of it, taken from the work itself and serving as its substitute (for example, “a pig under the oak tree,” or “a dog in the manger,” or “he washes dirty linen in public”)
A saying, unlike a proverb, does not contain a general instructive meaning.
Proverbs and sayings are comparative or allegorical statements and contain the worldly wisdom of the people. From these two sprouts, metaphors (in riddles) and figurative comparisons (in sayings), folk poetry grows.
Song genres of folklore are presented epic songs and ballads, ritual and lyrical songs, ditties, work songs and improvisations. Lamentations also join the song genre.
The songs reflect the age-old expectations, aspirations and innermost dreams of the people. The songs are unique in their musical and poetic presentation of the idea - ethical, aesthetic, pedagogical. Beauty and goodness appear in unity in the song. Good fellows, praised by the people, are not only kind, but also beautiful. Folk songs have absorbed the highest national values oriented only towards goodness, toward human happiness.
Songs are a more complex form of folk poetry than riddles and proverbs. The main purpose of songs is to instill a love of beauty, to develop aesthetic views and tastes. The song is characterized by a high poeticization of all aspects of people's life, including the education of the younger generation. The pedagogical value of the song is that beautiful singing was taught, and it, in turn, taught beauty and goodness. The song accompanied all events of people's life - work, holidays, games, funerals, etc. The whole life of people passed in song, which best expressed the ethical and aesthetic essence of the individual. A complete song cycle is a person’s life from birth to death. Songs are sung to a baby in a cradle, who has not yet learned to understand, to an old man in a coffin, who has no longer felt and understood. Scientists have proven the beneficial role of gentle song in the mental development of a child in the womb. Lullabies not only put the baby to sleep, but also caress him, soothe him, and bring joy. Some categories of songs are designed for specific age groups, although, of course, most songs cannot be sharply demarcated and distributed by age. Some adult songs are sung by small children with special enthusiasm. Therefore, we can only talk about the predominant performance of certain songs at a given age.
Noteworthy means of educational influence are pestles And nursery rhymes. In them, the growing child occupies the entire attention of the adult. Pestushki got their name from the word to nurture – to nurse, to carry in one’s arms. These are short poetic refrains that accompany the child’s movements during nurturing.
Pestlets make sense only when accompanied by a tactile device - a light bodily touch. A gentle massage, accompanied by a cheerful, simple song with clear pronunciation of poetic lines, puts the child in a cheerful, cheerful mood. Pestushki takes into account all the main aspects of the child’s physical development. As he begins to find his feet, he is told one thing; a child taking his first steps is taught to stand more firmly on his feet and at the same time other pestles speak.
Pestushki gradually turn into nursery rhyme songs that accompany the child’s games with fingers, arms, and legs. These games often also contain pedagogical instruction in hard work, kindness, and friendliness.
Song is a complex form of folk poetry. The main purpose of songs is aesthetic education. But they aim to implement other aspects of personality formation, i.e. are a comprehensive means of influencing the individual.
The songs reveal the external and internal beauty of a person, the meaning of beauty in life; they are one of the best means development of aesthetic tastes among the younger generation. Beautiful melodies enhance the aesthetic impact of the poetic words of the songs. Influence folk songs on peasant youth has always been enormous, and their significance has never been limited only to the beauty of verse and melody (external beauty, beauty of form). The beauty of thoughts and the beauty of content also refer to strengths folk songs.
And the very words of the songs, and the conditions, and the nature of their performance contribute to the strengthening of health and the development of hard work. The songs glorify health, it is called happiness, the highest good. People have always believed that songs develop the voice, expand and strengthen the lungs: “To sing loudly, you need to have strong lungs,” “A sonorous song expands the chest.”
The importance of songs in the labor education of children and youth is invaluable. As mentioned above, the songs accompanied and stimulated labor process, they contributed to the coordination and unification of the labor efforts of workers.
Fairy tales are an important educational tool, developed and tested by people over centuries. Life and folk education practices have convincingly proven the pedagogical value of fairy tales. Children and fairy tales are inseparable, they are created for each other, and therefore familiarity with the fairy tales of one’s people must be included in the education and upbringing of every child.
The most characteristic features of fairy tales are nationality, optimism, fascinating plot, imagery and fun, and, finally, didacticism.
The material for folk tales was the life of the people: their struggle for happiness, beliefs, customs, and the surrounding nature. There was a lot of superstition and darkness in the beliefs of the people. This is dark and reactionary - a consequence of the difficult historical past of the working people. Most fairy tales reflect the best features of the people: hard work, talent, loyalty in battle and work, boundless devotion to the people and homeland. Incarnation in fairy tales positive traits people and made fairy tales an effective means of transmitting these traits from generation to generation. Precisely because fairy tales reflect the life of the people, their best features, cultivate these features in the younger generation, the nationality turns out to be one of the most important characteristics fairy tales
Many folk tales inspire confidence in the triumph of truth, in the victory of good over evil. As a rule, in all fairy tales, the suffering of the positive hero and his friends is transitory, temporary, and they are usually followed by joy, and this joy is the result of struggle, the result of joint efforts. Optimism Children especially like fairy tales and enhance the educational value of folk pedagogical means.
The fascination of the plot, imagery and fun make fairy tales a very effective pedagogical tool.
Imagery- an important feature of fairy tales, which facilitates their perception by children who are not yet capable of abstract thinking. The hero usually very clearly and clearly shows those main character traits that bring him closer to the national character of the people: courage, hard work, wit, etc. These traits are revealed both in events and through various artistic means, for example hyperbolization. Thus, the trait of hard work as a result of hyperbolization reaches the utmost brightness and convexity of the image (in one night build a palace, a bridge from the hero’s house to the king’s palace, in one night sow flax, grow, process, spin, weave, sew and clothe the people, sow wheat , grow, harvest, thresh, thresh, bake and feed people, etc.). The same should be said about such traits as physical strength, courage, boldness, etc.
Imagery is complemented funnyness fairy tales The wise teacher-people took special care to ensure that fairy tales were interesting and entertaining. A folk tale contains not only bright and lively images, but also subtle and cheerful humor. All nations have fairy tales, the special purpose of which is to amuse the listener.
Didacticism is one of the most important features of fairy tales. Fairy tales from all peoples of the world are always instructive and edifying. It was precisely noting their instructive nature, their didacticism, that A.S. wrote. Pushkin at the end of his “Tale of the Golden Cockerel”:
The fairy tale is a lie, but there is a hint in it!
Good fellows lesson.
Due to the features noted above, fairy tales of all nations are an effective means of education. Fairy tales are a treasure trove of pedagogical ideas, brilliant examples of folk pedagogical genius.
People's Theater, existing in forms organically associated with oral folk art, originated in ancient times: the games that accompanied hunting and agricultural holidays contained elements of reincarnation. Theatricalization of the action was present in calendar and family rituals(Yuletide dressing up, wedding, etc.).
In folk theater, a distinction is made between live theater and puppet theater. The Russian Petrushka Theater was close to the Ukrainian nativity scene and the Belarusian batleyka.
Most characteristic feature folk theater (as well as in general folk art) is the open convention of costumes and props, movements and gestures; During the performances, the actors directly communicated with the public, who could give cues, intervene in the action, direct it, and sometimes take part in it (sing along with the choir of performers, portray minor characters in crowd scenes).
The folk theater, as a rule, had neither a stage nor decorations. The main interest in it is not focused on the depth of character development characters, but on the tragic or comical nature of situations and situations.
The folk theater introduces young spectators to verbal folklore, develops memory and imaginative thinking. Comic characters make fun of people's vices, dramatic characters teach empathy. By participating in his simple performances, the child learns to speak correctly and beautifully, give a speech in front of an audience, and overcome shyness.
Folk dance is one of the oldest species folk art. The dance was part of folk performances at festivals and fairs. The appearance of round dances and other ritual dances is associated with folk rituals. Gradually moving away from ritual actions, round dances were filled with new content that expressed new features of everyday life.
Peoples engaged in hunting and animal husbandry reflected their observations of the animal world in their dance. The character and habits of animals, birds, and domestic animals were figuratively and expressively conveyed: the Yakut dance of the bear, the Russian crane, the gander, etc. Dances on the theme of rural labor appeared: the Latvian dance of reapers, the Hutsul dance of woodcutters, the Estonian dance of shoemakers, the Belarusian lyanka, the Moldavian poame ( grape). Folk dance often reflects the military spirit, valor, heroism, and reproduces battle scenes (Georgian khorumi, berikaoba, Cossack dances, etc.). The theme of love occupies a large place in folk dance art: dances expressing the nobility of feelings, respectful attitude towards a woman (Georgian kartuli, Russian Baynov square dance).
Dance allows you to develop plasticity, special coordination of movements, techniques for relating movement to music. Children learn to move rhythmically, communicate with each other in motion (round dance, stream).
Folk arts and crafts immortalize the vast, ever-living soul of the people, their rich practical experience and aesthetic taste. The most developed in Belarus artistic treatment wood, pottery, weaving, painting, weaving and embroidery.
In certain features of folk art, norms of work and life, culture and beliefs can be traced. The most common element is the ornament born in antiquity, which helps to achieve the organic unity of the composition and is deeply interconnected with the technique of execution, the feeling of the subject, the plastic form, and the natural beauty of the material. Folk craftsmen have been highly valued since ancient times. The secrets of their craft were passed down from generation to generation, from father to son, combining the wisdom and experience of the past and the discoveries of the present. Children from an early age were involved in work and helping their parents. Working together helps children better master a craft, learn from the experience of a mentor (parents), and instills hard work.
2. The practice of using folklore and folklore genres in the system of national education
Folklore promotes the creative development of children and youth in the world of fairy tales, epics, and legends. Findings from the centuries-old history of spiritual traditions, systematized in folklore, should be used when constructing modern model education.
Let's look at practical applications and potential proverbs in national education.
It is difficult to overestimate the importance of labor education in the general system of folk pedagogy; it really is its core. Since ancient times, the labor education of children and youth has been the most important responsibility of parents, and then of educational institutions and other public institutions. That is why there are a great many proverbs praising work and ridiculing laziness among the peoples of the whole world.
He is not good who has a handsome face, but he is good who is good at business (Russian proverb).
Great in body, but small in deed (Russian proverb)
A little deed is better than a lot of idleness (Russian proverb)
If you love to ride, love to carry a sleigh (Russian proverb)
You have to bend down to drink from a stream (Russian proverb)
Gultay for work, and mazol by the hand (Belarusian proverb)
Love for one's homeland native land- the most important topic in the education of patriotism.
The bird that doesn't like its nest is stupid.
The Motherland is your mother, know how to stand up for her.
Someone else's food has someone else's taste.
Each sandpiper praises its swamp.
Where the pine tree grows, there it is red.
A swan has no use for the steppe, a bustard has no need for a lake.
Even the frog sings in his swamp.
Houses and walls help.
On his street there is a dog - a tiger.
A pile hut, like a native womb.
A special place in the system of aphorisms is occupied by proverbs that teach respect for elders.
Shanuy people, then I will pashanuytsya. (4; 302)
Old man, please, little man, please.
Proverbs and sayings in artistic images recorded the experience of life lived in all its diversity and inconsistency.
Solving riddles develops the ability to analyze, generalize, forms the ability to independently draw conclusions, inferences, the ability to clearly identify the most characteristic, expressive features of an object or phenomenon, the ability to vividly and concisely convey images of objects, develops in children a “poetic view of reality.”
Reflecting the picturesque landscapes of the homeland, full of colors, sounds, smells, riddles contribute to the education of aesthetic feelings.
Fluffy carpet
Not fabric with your hands,
Not sewn with silks,
In the sun, in the month
Shines like silver (snow)
Riddles help children understand the world around them and introduce them to the world of things.
Here are examples of riddles about household items.
Two rings, two ends, nails in the middle (scissors)
No legs, but I walk, no mouth, but I’ll tell you when to sleep, when to get up, when to start work (clock)
Riddles pay attention to the habits of animals; in riddles about vegetables and fruits, plants and berries, special attention is paid to the features of appearance.
Sleeps in winter, stirs up hives in summer (bear)
Shaggy, mustachioed, scouring the pantries, looking for sour cream (cat)
I will get a round, ruddy apple from the tree
Low and prickly, sweet and fragrant, if you pick the berries, you will rip off all your hands (gooseberry)
The value of the riddle is that it reflects in a highly poetic form the economic and labor activity of a person, his life, experience, flora, fauna, the world as a whole, and to this day it has great artistic significance in raising children.
Fairy tales, being artistic and literary works, they were at the same time for workers and an area of theoretical generalizations in many branches of knowledge. They are a treasury of folk pedagogy; moreover, many fairy tales are pedagogical works, i.e. they contain pedagogical ideas.
The great Russian teacher K.D. Ushinsky was so about fairy tales high opinion that he included them in his pedagogical system. Ushinsky saw the reason for the success of fairy tales among children in the fact that the simplicity and spontaneity of folk art correspond to the same properties of child psychology.
Fairy tales, depending on the topic and content, make listeners think and make them think. Often a child concludes: “This doesn’t happen in life.” The question involuntarily arises: “What happens in life?” Already the conversation between the narrator and the child, which contains the answer to this question, has educational significance. But fairy tales also contain educational material directly. It should be noted that the educational significance of fairy tales extends, in particular, to individual details of folk customs and traditions and even to everyday trifles.
For example, in the Chuvash fairy tale “He who does not honor the old will not see the good himself,” it is said that the daughter-in-law, not listening to her mother-in-law, decided to cook porridge not from millet, but from millet, and not in water, but only in oil. What came of this? As soon as she opened the lid, millet grains, not boiled, but fried, jumped out and fell into her eyes and blinded her forever. The main thing in the fairy tale, of course, is the moral conclusion: you need to listen to the voice of the old, take into account their everyday experience, otherwise you will be punished. But for children it also contains educational material: they fry in oil, not boil, therefore, it is absurd to cook porridge without water, in only oil. Children are usually not told about this, because no one does this in life, but in the fairy tale children are given instructions that everything has its place, that there should be order in everything.
Here's another example. The fairy tale “A penny for a miser” tells how a smart tailor agreed with a greedy old woman to pay her one penny for every “star” of fat in her soup. When the old woman was putting in the butter, the tailor encouraged her: “Put it in, put it in, old woman, don’t skimp on the butter, because it’s not for nothing that I ask you: for every “star” I’ll pay a penny.” The greedy old woman put more and more oil in order to get a lot of money for it. But all her efforts yielded an income of one kopeck. The moral of this story is simple: don't be greedy. This is the main idea of the fairy tale. But its educational meaning is also great. Why, the child will ask, did the old woman get one big “star”?
In fairy tales, the idea of the unity of teaching and upbringing in folk pedagogy is realized to the maximum extent.
Folk lyrical song differs significantly from other genera and
types of folklore. Its composition is more diverse than the heroic epic, fairy tales and other genres. The songs were created in far same time. Each time composed its own songs. The lifespan of each song genre is also not the same.
Children's songs are a complex complex: these are songs of adults, composed especially for children (lullabies, nursery rhymes and pestushki); and songs that gradually passed from the adult repertoire to the children's repertoire (carols, spring songs, chants, game songs); and songs composed by the children themselves.
In infancy, mothers and grandmothers lull their children to sleep with affectionate lullabies, entertain them with nursery rhymes and nursery rhymes, play with their fingers, arms, legs, and bounce them on their knees or in their arms.
Well known: “The magpie-crow was cooking porridge...”; “Okay, okay! Where were you? –
By Grandma…".
Pestushki are songs and rhymes that accompany the child’s first conscious movements. For example:
"Oh, he sings, he sings
Nightingale!
Oh, he sings, he sings
Young;
Young,
Pretty,
Pretty."
Nursery rhymes - songs and rhymes for a child’s first games with fingers, arms, and legs. For example:
“Stretchers, stretchers!
Rotok - talkers,
Hands are grasping,
Legs are walkers."
Calls - children's song appeals to the sun, rainbow, rain, birds:
– Spring is red! What did you come with?
- On a bipod, on a harrow,
On a sheaf of oatmeal,
On a rye ear.
Sentences are verbal addresses to someone. For example, they say in the bathhouse:
From Gogol - water,
From a baby - thinness!
Roll away, all of you.
The lullaby occupies a special place in folklore.
Foxes are sleeping
Everything bit by bit,
Martens are sleeping
Everything is in order,
Falcons are sleeping
All in nests,
The sables are sleeping
Where they wanted
Little kids
They sleep in cradles.
In lullabies, mothers talk about the surrounding reality, think out loud about the purpose and meaning of life, and express their worries, joys and sorrows. In the lullaby, the mother finds an outlet for her feelings, an opportunity to fully speak out, express herself and get mental release.
The lullaby is the greatest achievement of folk pedagogy; it is inseparably connected with the practice of raising children at that very tender age, when the child is still a helpless creature requiring constant caring attention, love and tenderness, without which he simply cannot survive.
Folk songs contain joy and sorrow, love and hatred, joy and sadness. The songs reveal the best features of the national character of Belarusians: courage, bravery, truthfulness, humanism, sensitivity, hard work.
Conclusion
The experience of public education among all ethnic groups, nations and peoples is very rich. As an analysis of the traditional culture of education has shown, this experience is characterized by almost identical requirements for the qualities of the personality being formed and the system of means of its upbringing and training. It represents a unique (common to all mankind) folk wisdom, a system of universal human values, proven over centuries. But this does not mean that it is necessary to use the entire arsenal of folk remedies and educational factors without changes and critical evaluation. It is necessary to take those that work today and correlate with our ideas about humanism and universal human values.
It is in vain to think that oral folk art was only the fruit of popular leisure. It was the dignity and intelligence of the people. It formed and strengthened his moral character, it was his historical memory, the festive clothes of his soul and filled with deep content his entire measured life, flowing according to the customs and rituals associated with his work, nature and the veneration of his fathers and grandfathers.
Folklore plays an important role in raising children. Dividing it into genres allows, at a certain age, a child to enrich his spiritual world, develop patriotism, respect for the past of his people, study of its traditions, and assimilation of moral standards of behavior in society.
Folklore develops oral speech child, affects him spiritual development, to his imagination. Each genre of children's folklore teaches certain moral standards. So, for example, a fairy tale, by likening animals to people, shows the child the norms of behavior in society, and fairy tales They develop not only imagination, but also ingenuity. Proverbs and sayings teach children folk wisdom that has been tested for centuries and has not lost its relevance in our time. Epic epic is a heroic narrative about events that took place in ancient times. And although epics are not so easy for children to understand, they are still aimed at instilling respect for the past people, at studying the traditions and behavior of people at all times, at the patriotism of the Slavic people, who, despite everything, remained faithful to their homeland and defended it in every possible way. Song lyrics also have an impact on raising children. It is mainly used when the child is still very young. For example, lullabies are sung to a baby to calm him down and put him to sleep. Song lyrics also include ditties, jokes, pesters, tongue twisters, and counting rhymes. They are specifically aimed at developing children’s hearing and speech, as they use a special combination of sounds.
Thus, the introduction of a child to folk culture begins in childhood, where basic concepts and examples of behavior are laid down. Cultural heritage passed on from generation to generation, developing and enriching the child’s world. Folklore is a unique means for transmitting folk wisdom and educating children at the initial stage of their development.
Bibliography
1. Baturina G.I., Kuzina T.F. Folk pedagogy in the education of preschool children. M., 1995.-S. 7–8.
2. Belarusian folklore. Haunted. Issue 2nd dap. Sklali K.P. Kabashnika, A.S. Lis, A.S. Fyadosik, I.K. Tsischanka Minsk, “Higher School”, 1977.
3. Bel. vusna – paet. creativity: Padruchnik for students of Phil. specialist. VNU / K.P. Kabashnika, A.S. Lis, A.S. Fyadosik i insh. – Mn.: Minsk, 20000. – 512 p.
4. Belarusians. T.7. Great creative creativity / G.A. Bartashevich, T.V. Valodzina, A.I. Gurski i insh. Redcal. V.M. Balyavina i insh; Institute of History, Ethnagraphy and Folklore. – Mn.: Bel. Navuka, 2004.-586 p.
5. Berezhnova, L.N. Ethnopedagogy: textbook. aid for students Higher Textbook institutions / L.N. Berezhnova, I.L. Nabok, V.I. Shcheglov. – M.: Publishing house. Center "Academy", 2007. – 240 p.
6. Volkov, G.N. Ethnopedagogy: Textbook. for students avg. and higher ped. textbook institutions / G.N. Volkov - M.: Publishing center "Academy", 1999. - 168 p.
7. Volodko, V.F. Education / V.F. Volodko; BNTU – Minsk: Law and Economics, 207 – 230 p.
8. Literary encyclopedia. M.A. Puzzles. M., 1964, vol. 2, p. 970.
9. Chernyavskaya Yu.V. Belarusian: touches to a self-portrait. Ethnic self-image of Belarusians in fairy tales / Chernyavskaya Yu.V. – Mn.: “Four Quarters”, 2006. – 244 p.
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Folklore as a special type of art is a qualitatively unique component artistic culture. It can be considered as the core of artistic culture, a special layer in the culture of society. It can be stated that folklore is the oldest layer of folk artistic culture.
It integrates the culture of a society of a certain ethnicity on a special level historical development society. You can consider Russian folk culture as a spiritual archetype of the Russian people, which arose in early stage its development. Folklore is ambiguous: it reveals both boundless folk wisdom and folk conservatism and inertia. In any case, folklore embodies the highest spiritual powers of the people and reflects elements of national artistic consciousness. Folklore is a special artistic integrity; it is constantly developing, changing, but at the same time evolving very slowly.
Unfortunately, there is no unambiguous definition of the concept of folklore. Folklore translated from English (English folklore) means - folk knowledge, folk wisdom, folk poetry, folk poetry, oral folk art, - the totality various types and forms of mass oral art. creativity of one or more peoples.
This term is understood in different ways: sometimes it means any folk art- dancing, music, wood carving and even beliefs. Russian scientists traditionally call only verbal creativity folklore.
Literature appeared much later than folklore, and has always, to one degree or another, used its experience: themes, genres, techniques - different in different eras.
Musical folklore includes folk songs and dances, epics and instrumental tunes. Unlike professional music, folklore does not know its authorship. The work lives in oral tradition, passed on from one performer to another, and sometimes modified. Therefore, folklorists (studying folk art) in different places from different performers sometimes record very different versions of the same song or epic. “Folk songs, like musical organisms, are by no means the compositions of individual musical and creative talents, but the work of an entire people,” a prominent Russian composer and musical critic A. N. Serov.
Genres in folklore also differ in the method of performance (solo, choir, choir and soloist) and various combinations text with melody, intonation, movements (singing, singing and dancing, storytelling, acting, etc.). With changes in the social life of society, new genres arose in Russian folklore: soldiers', coachmen's, barge haulers' songs. The growth of industry and cities gave rise to romances, jokes, worker, school and student folklore.
In folklore there are productive genres, in the depths of which new works can appear. Now these are ditties, sayings, city songs, jokes, and many types of children's folklore. There are genres that are unproductive, but continue to exist. Thus, no new folk tales appear, but old ones are still told. Many old songs are also sung. But epics and historical songs are practically no longer heard live. But folklore is not only folk wisdom. This is also a manifestation of the soul of the people.
Folklore is very diverse. There is traditional and modern folklore; peasant and urban folklore.
Traditional folklore is those forms and mechanisms of artistic culture that are preserved, recorded and passed on from generation to generation. They capture universal aesthetic values that retain their significance outside of specific historical social changes.
Modern folklore reflects the current stage of development of folk art. It incorporates modern aesthetics, issues and artistic images. It is also a non-literate culture, the carriers of which are often marginalized sections of society. In structure modern folklore we can distinguish the so-called neofolklore. This is everyday artistic creativity of an unformalized leisure nature, including simultaneously forms of folklore, mass and professional art, amateur performances, distinguished by aesthetic diversity, stylistic and genre instability, and acting as the “second” wave in modern folk culture.
Peasant folklore belongs to the peasant subculture. It's quite stable art system. It contains the labor, ethical, family, marriage and aesthetic values of farmers. Its archaic layers that have reached us represent in spirit and meaning the value system of the agricultural calendar and the culture of the peasantry, which combines the features of paganism and Christianity.
Urban folklore appeared in a later period; its widespread use dates back to the 18th century. It developed in constant interaction, on the one hand, with original art in its written (printed) forms, and on the other, with peasant folklore. The processes of borrowing from one layer of culture to another were very characteristic. They occurred through bourgeois folklore, ideas, images and artistic techniques which were decisive for urban folklore.
Thus, we can state a wide variety of interpretations of the concept “folklore”. Nevertheless, the definitions of folklore in the narrow and broad senses gradually became dominant: as oral folk art and as the totality of all types of folk art in the context of folk life.
In ancient times, immortal works of folk wisdom and folk imagination were composed. Folklore - folk art of words - is a heroic epic, fairy tales, legends, songs, proverbs, riddles. Works of oral folk art arose in ancient times and accompany us to the present day. Both children and adults know folk songs, fairy tales, and riddles. How great is the value of the people's oral poetic creativity and what is its history?
Folklore as oral folk poetry arose many centuries ago, in ancient times, when humanity did not yet have a written language. These works were passed down from generation to generation orally as a living, sounding word. Everyone who passed on a fairy tale or epic they heard to others told it in their own way, adding something, changing something, so there are many versions of the same fairy tale, epic, song. Folklore works were created for telling and listening, had many variations, and their creator was a collective author - the people.
Heroic songs told about the exploits of warriors - this is how Russian epics and historical songs arose. In legends and songs there is a struggle with nature, and legends about how man learned to make fire, build dwellings, and cultivate the land. We do not know the names of the distant creators who created entertaining tales, poetic songs, amusing riddles and wise proverbs, but we know for sure that the author of folklore is a brilliant, eternally living and eternally young poet - the people.
Labor moved human thought forward and brought to life the first songs and fairy tales. People have long noticed that songs make work easier and add a clear rhythm to it; with song, for example, it is easier to row, load or fell trees. Primitive people They did not know how to correctly explain natural phenomena and believed that they were surrounded by good and evil spirits.
People tried to appease them by influencing them with spells and ritual songs performed during plowing, weddings, and funerals. Nowadays, ancient ritual songs have lost their original meaning and are preserved as lyrical or playful songs.
People believed in the gods of the forces of nature - rain, wind or sun and composed songs glorifying or calling on them. Sowing or harvest began, a holiday dedicated to the birth of a child, a wedding, the beginning of spring - they began with ritual songs.
Folk art is rich and varied. In fairy tales and songs, people talked about important historical events, about their work, about their worries and sorrows, and dreamed of a happy, fair life.
Many folk songs arose from the desire of the people to make their work easier, to make it more organized, to unite, and to coordinate the efforts of workers.
Folk wisdom, observation, accuracy and expressiveness of folk speech are embodied in proverbs, sayings, and riddles. Epics are artistic historical songs about heroes, folk heroes.
Living through the centuries, folklore works were enriched with the features of a new life, and now updated ancient tales continue to live, and with them new songs, fairy tales, and anecdotes arise.
Folklore - a kind of historical document - reveals the worldview of the people: a firm belief in justice and happiness, in the obligatory victory of good over evil. It is not for nothing that the heroes of Russian fairy tales, Ivanushka the Fool or Emelya, triumph over all their enemies and even over death.
The term “folklore” (translated as “folk wisdom”) was first introduced by the English scientist W.J. Toms in 1846. At first, this term covered the entire spiritual (beliefs, dances, music, wood carving, etc.), and sometimes the material (housing, clothing) culture of the people. In modern science there is no unity in the interpretation of the concept of “folklore”. Sometimes it is used in its original meaning: an integral part of folk life, closely intertwined with its other elements. Since the beginning of the 20th century. the term is also used in a narrower, more specific meaning: verbal folk art.
Folklore (eng. folklore) - folk art, most often oral; artistic collective creative activity of the people, reflecting their life, views, ideals; poetry created by the people and existing among the masses (legends, songs, ditties, anecdotes, fairy tales, epics), folk music (songs, instrumental tunes and plays), theater (dramas, satirical plays, puppet theater), dance, architecture, fine and arts and crafts.
Folklore is the collective and tradition-based creativity of groups and individuals, determined by the hopes and aspirations of society, and is an adequate expression of their cultural and social identity.
According to B.N. Putilov, there are five main variants of the meaning of the concept “folklore”:
1. folklore as a set, a variety of forms of traditional culture, that is, a synonym for the concept of “traditional culture”;
2. folklore as a complex of phenomena of traditional spiritual culture, realized in words, ideas, ideas, sounds, movements. In addition to artistic creativity itself, it also covers what can be called mentality, traditional beliefs, and folk philosophy of life;
3. folklore as a phenomenon of artistic creativity of the people;
4. folklore as a sphere of verbal art, that is, the area of oral folk art;
5. folklore as phenomena and facts of verbal spiritual culture in all their diversity.
The narrowest, but also the most stable of these definitions is the one that connects it mainly with the genres of oral folk art, that is, with verbal, verbal expression. This is truly the most developed field of folkloristics, which has made a huge contribution to the development of the science of literature - a direct descendant, “continuator” of oral folk art, genetically related to it.
The concept of “folklore” also means all areas of folk art, including those to which this concept is usually not applied (folk architecture, folk arts and crafts, etc.), since it reflects an indisputable fact, all types and genres of professional art have their origins in folk art and folk art.
The most ancient types of verbal art arose in the process of the formation of human speech in the Upper Paleolithic era. Verbal creativity in ancient times was closely connected with human labor activity and reflected religious, mythical, historical ideas, as well as the beginnings of scientific knowledge. Ritual actions, through which primitive man sought to influence the forces of nature, fate, were accompanied by words: spells and conspiracies were pronounced, and various requests or threats were addressed to the forces of nature. The art of words was closely connected with other types of primitive art - music, dance, decorative art. In science this is called “primitive syncretism.” Traces of it are still visible in folklore.
As humanity accumulated more and more significant life experience that needed to be passed on to subsequent generations, the role of verbal information increased. The separation of verbal creativity into an independent art form is the most important step in the prehistory of folklore. Folklore was a verbal art organically inherent in folk life. The different purposes of the works gave rise to genres, with their various themes, images, and style. In the ancient period, most peoples had tribal legends, work and ritual songs, mythological stories, and conspiracies. The decisive event that paved the line between mythology and folklore itself was the appearance of fairy tales, the plots of which were perceived as fiction.
In ancient and medieval society, a heroic epic took shape. Legends and songs reflecting religious beliefs also arose (for example, Russian spiritual poems). Later, historical songs appeared, depicting real historical events and heroes, as they remained in people's memory. With changes in the social life of society, new genres arose in Russian folklore: soldiers', coachmen's, barge haulers' songs. The growth of industry and cities gave rise to romances, jokes, worker, school and student folklore.
For thousands of years, folklore was the only form of poetic creativity among all peoples. But with the advent of writing for many centuries, right up to the period of late feudalism, oral poetry was widespread not only among the working people, but also among the upper strata of society: the nobility, the clergy. Having arisen in a certain social environment, a work could become a national property.
One of the most important specific features of folk oral creativity is collectivity. Each piece of oral folk art not only expresses the thoughts and feelings of specific groups, but is also collectively created and disseminated. However, the collectivity of the creative process in folklore does not mean that individuals did not play any role. Talented masters not only improved or adapted existing texts to new conditions, but sometimes also created songs, ditties, and fairy tales, which, in accordance with the laws of oral folk art, were distributed without the name of the author. With the social division of labor, unique professions arose related to the creation and performance of poetic and musical works (ancient Greek rhapsodes, Russian guslars, Ukrainian kobzars, Kyrgyz akyns, Azerbaijani ashugs, French chansonniers, etc.). Collectivity is not a simple co-authorship, but a special long-term process of improving songs, fairy tales, legends, proverbs and sayings. Collectivity is most clearly manifested in the constant process of selection and polishing of works of folk poetry: from many works, the people choose and preserve the best, similar to their thoughts and aesthetic views. The collective principle in folklore is not opposed to the individual. Folklore is characterized by an organic combination of the collective and the individual, while collectivity does not interfere with the manifestation of the individual abilities of writers and performers.
The oral form of existence of folklore is organically connected with the collectivity of folk art. Folklore appeared earlier than writing and initially existed only in oral transmission. The oral form of existence of folk poetry leads to the emergence of variants of the same folklore work - this is another specific feature of folklore - variability.
Folklore works differ from fiction in the features of their artistic form. These features include, first of all, traditional poetics developed by the people over the centuries. Traditional folk symbolism, constant epithets, metaphors give folk art a specific flavor.
Folklore differs from written literature in its typification features. Literature is characterized by the creation of typical characters in typical settings. A typical character, reflecting the main features of his social environment and his era, is manifested through the individual qualities of the hero, through his individual and unique appearance. The images of oral folk art do not have such individualization.
Introduction
Folklore is the main means of folk pedagogy. Folk pedagogy is an educational subject and type of activity of adults for the upbringing of the younger generation, the totality and interrelation of ideas and ideas, views and opinions and beliefs, as well as the skills and techniques of the people on the development of education and training of the younger generation, reflected in folk art. This is the mentality of the nation in relation to the younger generation, and educational traditions in the family and society, and the connection and continuity of generations.
Folklore is an invaluable national treasure. This is a huge layer of the spiritual culture of Belarusians, which was formed through the collective efforts of many generations over many centuries. At the present stage of national revival, it is necessary to return to what was achieved by our ancestors.
Belarusian national folklore is one of the richest in the Slavic world. It is full of pedagogical experience and folk wisdom. On the basis of folklore, a huge layer of ethical and pedagogical ideas was created: respect for elders, hard work, tolerance, goodwill, tolerance for other people's opinions.
Tolerance, tolerance, virtue, as traditional Christian virtues, gradually became the distinctive features of Belarusians. Moreover, they coexist with such qualities as personal dignity, focus, and activity.
Folklore with educational content, everyday traditions, holidays, Belarusian classical literature - these are the concepts that have a huge impact on the formation of national character. It promotes the creative development of children and youth in the world of epics, fairy tales, and legends. Proverbs and sayings can serve as the basis for moral precepts, helping to develop thinking, logic, and interest in the history and culture of the people.
Thus, folklore is the main source of knowledge about the principles of education that have developed in the culture of different nations, its moral, religious and mythical foundations. The figurative and symbolic nature of artistic creativity, its impact on the emotional and sensory sphere of the individual makes it the most adequate means of unobtrusive and at the same time effective educational influence.
Consideration of this course topic is relevant and interesting at the same time.
The educational potential of folklore is limitless. Today, our society is reviving forgotten ancient traditions, using folk experience, creating new models of educational theories and practices.
Attention to folklore, ancient layers of culture, tradition in general, as an inexhaustible source of human upbringing and development, has been especially active in recent years in the socio-pedagogical environment. This is due to the functional characteristics of folklore genres, the deep spirituality and wisdom of folk art, and the continuity of the process of transmitting national culture from generation to generation.
At the beginning of the new century, there is an increased interest in national culture, ethnic processes, traditional artistic creativity, and folklore. Scientists note a special growth in the historical and national self-awareness of each people, explaining this by socio-psychological and political reasons.
Preservation and development of national culture and one’s roots is the most important task, which requires careful treatment of historical and cultural monuments, and traditional folk art. The revival of folklore, folk customs, rituals and holidays, traditional arts and crafts and fine arts is a pressing problem of our time. Folklore, its genres, means, and methods most fully fill out the entire picture of people's life, giving a vivid picture of the life of the people, their morality, and spirituality. Folklore reveals the soul of a people, its virtues and characteristics. From a scientific point of view, folklore is a phenomenon that deserves special study and careful evaluation.
The purpose of the course work is to reveal the significance of folklore in the system of national education.
Coursework objectives:
– characterize the phenomenon of folklore and its educational significance;
– characterize the main genres of folklore, based on the educational potential of each;
– show the practical application of the main folklore genres in education.
The object of this coursework is the multifaceted phenomenon of national folklore, and the subject is the genres of folklore and their educational potential.
Methods used when writing coursework - descriptive, comparative analysis, analysis of literary sources.
folklore educational genre
1. Folklore is a means of national education
1.1 The concept and essence of folklore
The term “folklore” (translated as “folk wisdom”) was first introduced by the English scientist W.J. Toms in 1846. At first, this term covered the entire spiritual (beliefs, dances, music, wood carving, etc.), and sometimes the material (housing, clothing) culture of the people. In modern science there is no unity in the interpretation of the concept of “folklore”. Sometimes it is used in its original meaning: an integral part of folk life, closely intertwined with its other elements. Since the beginning of the 20th century. the term is also used in a narrower, more specific meaning: verbal folk art.
Folklore (eng. folklore) – folk art, most often oral; artistic collective creative activity of the people, reflecting their life, views, ideals; poetry created by the people and existing among the masses (legends, songs, ditties, anecdotes, fairy tales, epics), folk music (songs, instrumental tunes and plays), theater (dramas, satirical plays, puppet theater), dance, architecture, fine and arts and crafts.
Folklore is the collective and tradition-based creativity of groups and individuals, determined by the hopes and aspirations of society, and is an adequate expression of their cultural and social identity.
According to B.N. Putilov, there are five main variants of the meaning of the concept “folklore”:
1. folklore as a set, a variety of forms of traditional culture, that is, a synonym for the concept of “traditional culture”;
2. folklore as a complex of phenomena of traditional spiritual culture, realized in words, ideas, ideas, sounds, movements. In addition to artistic creativity itself, it also covers what can be called mentality, traditional beliefs, and folk philosophy of life;
3. folklore as a phenomenon of artistic creativity of the people;
4. folklore as a sphere of verbal art, that is, the area of oral folk art;
5. folklore as phenomena and facts of verbal spiritual culture in all their diversity.
The narrowest, but also the most stable of these definitions is the one that connects it mainly with the genres of oral folk art, that is, with verbal, verbal expression. This is truly the most developed area of folkloristics, which has made a huge contribution to the development of the science of literature - a direct descendant, “continuator” of oral folk art, genetically related to it.
The concept of “folklore” also means all areas of folk art, including those to which this concept is usually not applied (folk architecture, folk arts and crafts, etc.), since it reflects an indisputable fact, all types and genres of professional art have their origins in folk art and folk art.
The most ancient types of verbal art arose in the process of the formation of human speech in the Upper Paleolithic era. Verbal creativity in ancient times was closely connected with human labor activity and reflected religious, mythical, historical ideas, as well as the beginnings of scientific knowledge. Ritual actions, through which primitive man sought to influence the forces of nature, fate, were accompanied by words: spells and conspiracies were pronounced, and various requests or threats were addressed to the forces of nature. The art of words was closely connected with other types of primitive art - music, dance, decorative art. In science this is called “primitive syncretism.” Traces of it are still visible in folklore.
As humanity accumulated more and more significant life experience that needed to be passed on to subsequent generations, the role of verbal information increased. The separation of verbal creativity into an independent art form is the most important step in the prehistory of folklore. Folklore was a verbal art organically inherent in folk life. The different purposes of the works gave rise to genres, with their various themes, images, and style. In the ancient period, most peoples had tribal legends, work and ritual songs, mythological stories, and conspiracies. The decisive event that paved the line between mythology and folklore itself was the appearance of fairy tales, the plots of which were perceived as fiction.
In ancient and medieval society, a heroic epic took shape. Legends and songs reflecting religious beliefs also arose (for example, Russian spiritual poems). Later, historical songs appeared, depicting real historical events and heroes, as they remained in people's memory. With changes in the social life of society, new genres arose in Russian folklore: soldiers', coachmen's, barge haulers' songs. The growth of industry and cities gave rise to romances, jokes, worker, school and student folklore.
For thousands of years, folklore was the only form of poetic creativity among all peoples. But with the advent of writing for many centuries, right up to the period of late feudalism, oral poetry was widespread not only among the working people, but also among the upper strata of society: the nobility, the clergy. Having arisen in a certain social environment, a work could become a national property.
