Elena Olesova
Presentation "Oral folk art in the education of spiritual and moral qualities in children younger age»
The purpose of my work is spiritually-moral development of the child's personality by means of introducing him to the values of Russian folk culture and development spiritually-moral traditions of the Russian people.
Main goals spiritual and moral education:
Educational:
expand knowledge about the environment
improve speech;
enrich vocabulary
Educational:
to form a respectful, merciful, attentive attitude towards others;
bring up love and respect for the motherland (taking into account the regional component, people, culture, shrines;
cultivate obedience, the desire to imitate good examples, to live according to conscience;
bring up humane treatment of animals and nature.
Educational:
develop Creative skills;
develop cognitive activity, the ability to communicate emotionally;
develop imagination, thinking;
develop interest in folklore.
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The relevance of the topic is that at present Russia is going through one of the difficult historical periods. And the biggest danger that lies in wait for our society today is the destruction of the individual. Now material values dominated spiritual, so children representations of kindness, mercy, generosity, justice, citizenship and patriotism are distorted. children distinguishes emotional, volitional and spiritual immaturity. Forms of collective activity are gradually lost.
Spiritual and moral education forms a personality, salutary affecting all aspects and forms of human relationships with the world: on his ethical and aesthetic development, worldview and the formation of a civic position, patriotic and family orientation, intellectual potential, emotional condition and general physical and mental development.
In my work with early childhood age I use the following types small genre:
Lullabies;
invocations;
jokes;
Proverbs;
Sayings;
Folk holidays;
Folk games;
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Texts passed down from generation to generation for centuries. "maternal" folklore, lullabies. Rhythm lullaby song usually correlated with the rhythm of breathing and heartbeat of the mother and child. In them one can clearly see that reverent attitude of a loving mother to her son or daughter, which is fixed in figurative, rhyming texts. They sing about everything that surrounds the baby in the first months and years of life. They sing about animals and birds that help the mother to lull the baby. These short songs help the child to explore the world. They become for the child the first, and often unforgettable lessons of care, patience, kindness.
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In ancient times, people often turned to natural phenomena, called the seasons, welcomed the sun, rain, and much more. People believed that nature hears and understands them, they asked her for help and thanked for the gifts. These appeals were conducted in verse, which later became known as invocations.
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Verbal Russian folk art contains great poetic
values. Jokes, nursery rhymes have long been used for parenting, especially the smallest, in order to attract their attention, calm, cheer, talk.
Such processes in the life of a baby as dressing, bathing, require accompaniment by a word, and here Russian folk art is indispensable. From early childhood, the child responds to nursery rhymes, jokes.
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Proverbs and sayings called a pearl folk art. They affect not only the mind, but also the feelings of a person. The teachings contained in them are easy perceived and remembered. Proverbs addressed to children can reveal to them the rules of behavior, moral norms.
Proverbs and sayings are the richest source of cognitive and moral development children.
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The riddle is a particularly interesting form of folklore. The pedagogical value of riddles lies in the fact that they introduce joy "thinking", direct attention to the object and phenomena, encourage to delve deeper into the meaning of verbal designations and objects.
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Acquaintance children with national holidays, which were part of the work and life of the Russian people children get the opportunity to learn about history people, with his way of life and folk wisdom. During the holidays, children not only sing songs, but also listen to works by Russian composers. This greatly enriches children's experience, expands the range of emotions. Children learn to understand shades emotions: gloomy and bright sadness, quiet and solemn joy.
For centuries folk games accompany everyday life children, produce vital quality: endurance, strength, dexterity, speed, instill honesty, justice and dignity.
Russians folk games are thousands of years old history:
they have been preserved to this day from ancient times, passed down from generation to generation, incorporating the best national traditions.
In addition to saving folk traditions of the game have a great influence on character education, willpower, interest in folk art and develops physical culture. IN folk games a lot of humor, jokes, competitive enthusiasm; the movements are precise and figurative, often accompanied by unexpected funny moments, tempting and favorite children's rhymes, nursery rhymes.
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I pay special attention to fairy tales in my work.
A fairy tale is an effective means of influencing a personality
child. She teaches educates, warns, awakens high feelings, induces to action. Generosity, mutual assistance, generosity of spirit stand out among the leading features of the Russian national character, these features are clearly represented in the actions of the main fairy tale characters. Listening to fairy tales, gradually and naturally, children comprehend the contradictory interaction of good and evil, happiness and misfortune, responsiveness and indifference.
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In my group, I organized an exhibition of joint creative works according to Russian folk tales -"Kolobok, kolobok! I will eat you!" Parents and children took an active part in exhibition: made beautiful crafts from plasticine, tied fairy-tale characters, showed imagination in manufacturing.
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Folklore in different types of educational activities.
I use with children:
Modeling - we sculpt pancakes, beat with a nursery rhyme “Grandma, grandma baked pancakes. One Varenka, one Kolenka...
Drawing - draw rain, play with a nursery rhyme "Rain, more rain, the grass will be thicker."
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Designing - we are building a house (teremok, using finger gymnastics “The house is standing in a clearing, but the path to it is closed. We open the gate, We invite you to this house”
Russian staging folk tales -"Kolobok, "Teremok" etc.
In the physical parenting- awakening gymnastics “Kwa-kva-kva-kva-kvakushki, Frogs in the reeds! We opened our eyes, We rubbed our ears - Po-ta-gush-ki. Go-goo-ki. Po-ta-gush-ki. ”
I use in regime moments folk games: "At the bear in the forest", "Cat and
mice", "Loaf", "Carousel", "Sun and Rain".
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Created in the group an artistic and speech corner with elements oral folk
creativity: card file of nursery rhymes, tongue twisters, riddles, desktop-printed
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In my work, I use a variety of forms of work with children:
Reading works of art;
Finger games;
Didactic games;
Board - printed games;
Dramatization games;
The use of multimedia technologies in the process of organized
activities;
Excursions;
Target walks.
Work in kindergarten should be continued in the family, so I use the following forms of work with parents:
parent meetings;
Questioning of parents;
Consultations;
Visual types of work: card index of nursery rhymes, exhibitions creative work on
Joint preparations for the holidays;
Joint learning work oral folk art(numbers,
lullabies);
Help from parents kindergarten in the production of attributes.
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Thank you for your attention!
Russian folk songs: The songs display the external and inner world of a person (“a simple-hearted outpouring of grief or joy of the heart”) Ritual (wedding, seeing off to the army, the holiday of the “first furrow”) and non-ritual. Historical, love, barge, recruiting, robbery, coachmen. Heroes of songs: Ivan the Terrible, Peter 1, Suvorov, Kutuzov, Ermak, Razin, Pugachev.
Russian folk songs: They were created when feelings, experiences required expression in words and melody. Passed down from mouth to mouth, from generation to generation. The first recordings of folk songs date back to the 17th century. Collectors: Pushkin, Gogol, Chulkov, Koltsov, Rybnikova, Putilov, Vostokov, Veselovsky, Propp and others.
Lyrical song The lyrical hero is a simple man, a man of labor, a soldier. Life is perceived through his eyes, mind, and heart. Compositionally a lyrical song: a monologue - an outpouring of feelings, a reflection on fate, often begins with an appeal; dialogue is the conversation of lyrical characters. The basic principle of the internal organization of the l / n is poetic parallelism - first a natural symbolic picture is given, then a picture-image from human life (drake-well done, duck-girl)
Ancient symbols-images Month-father, husband; sun-mother, stars-children, dawn - girl (wife) Birds act as symbols (Nightingale, drake, falcon, dove - well done; swan, duck, peahen, dove - girl; gray cuckoo - sadness, bitter female, girlish share ) Symbols of the plant world (girl - white birch, viburnum, raspberry, sweet cherry; well done - oak, hops, grapes) The state of the plant is also symbolic: flowering - fun, wilting - sadness, separation. Figurative paintings help create permanent epithets (violent wind, open field, damp earth, clear falcon)
Historical Songs and Tradition Tradition is a genre of oral non-fairytale prose, a story about historical figures and events. Historical song - a kind of chronicle, the history of the people, arose during the struggle against the Tatar yoke: Historical real event, small volume, lack of rhyme (recitative verse - a different number of syllables and stresses) The first songs about Shchelkan (1327), from the 16th century. - songs about Ivan the Terrible, XVII century. - a reflection of the national liberation struggle against the interventionists, songs about Stepan Razin, in songs of the 17th century. - Peter 1, the uprising of Bulavin, Pugachev, the last cycle of songs is dedicated to the war of 1812.
Features of historical songs and legends about Pugachev What do you know about Pugachev, about the uprising under his leadership? What did you learn new about Pugachev from the legend? What kind of people did Pugachev imagine? What do historical songs and the legend about Pugachev have in common? What difference did you notice between the historical song and the legend about Pugachev?
Common and different Tradition: Ordinary everyday story, without rhythm, includes dialogue Variations - many additions, changes (logic is lost) A set of fragmentary, often contradictory information. Combination of reality and semi-fairytale images. Vocabulary - mundane, the presence of turns of colloquial speech.
Homework Reading the legend "On the conquest of Siberia by Yermak" What era does this legend belong to? What do you know about the conquest of Siberia? How is the attitude of the people towards Yermak manifested in the legend? How do you imagine the episode of the conquest of Siberia in comparison with the reproduction? Are there any differences in tradition and historical information? Reading article p. 17 "From Old Russian Literature." Thank you for your attention!
The work can be used for lessons and reports on the subject "Literature"
Ready-made presentations on literature have colorful slides with images of poets and their heroes, as well as illustrations for novels, poems and other literary works. The teacher of literature has the task of penetrating the soul of a child, teaching him morality, and developing a creative personality in him, therefore, presentations in literature should be interesting and memorable. In this section of our site you can download ready presentations for literature lessons for grades 5,6,7,8,9,10,11 absolutely and without registration.
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Folklore
Completed by students of grade 8 "A" MOBU "Secondary School No. 73" Korotkova Maria Khaibulina Elena
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Russian fun
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Russian national costume
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Russian folk songs
It's Saturday night for us, You can love with money, And tomorrow is Sunday. Nuts hurt your teeth. You are my mistress, you are my madam, You are my mistress, you are my madam, Ah, the resurrection. Ah, the teeth hurt. My friend Vanyusha came to me the other day, Lips are sweet from raisins, Friend Vanyusha brought three pockets. You can not kiss with a cute. You are my mistress, you are my madam, you are my mistress, you are my madam, Ah friend Vanyusha brought. Ah, kiss. The first karma-an with money, You can't kiss a sweetheart, The second karma-an with nuts. You can only hug, You are my mistress, you are my madam, You are my mistress, you are my madam, Ah, with nuts. A-a hugging, Third pocket with raisins, You are my mistress, you are my madam, Third karma-an with raisins, A-a hugging. You are my mistress, you are my madam, Ah, with raisins.
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Russian folk dances
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Russian folk holidays and rituals
Maslenitsa Begins 56 days before Easter The oldest truly folk holiday of seeing off winter and welcoming spring. Maslenitsa week fell on the period of the cheese week before the start of Lent. "Rampant", "wide" "abundant" Maslenitsa is the favorite winter holiday of the Russian people. Each day of the Maslenitsa week was distinguished by its traditional rites and entertainment.
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Easter Celebrated on the first Sunday after the March full moon following the spring equinox (between April 4 and May 7). The great twelfth feast of the church calendar is Holy Sunday of Christ. Christian Easter is a memory of the atoning sacrifice of Jesus Christ, of his death on the cross and miraculous resurrection. Includes Easter matins, procession, consecration of eggs and Easter cakes in the church, preparation of cottage cheese Easter, family meal, commemoration of the dead. The ancient custom of protective rounds of houses by children and youth with the collection of treats was preserved.
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Ivan Kupala June 24 / July 7 One of the holidays of the ancient agricultural calendar, when the summer solstice and the highest flowering of nature are celebrated. According to the church calendar, this is a holiday in honor of the Nativity of St. John the Baptist.
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Ilyin's day July 20 / August 2 Day of memory of the Old Testament prophet Elijah. In popular belief, Elijah the Prophet controlled the fertility of the earth, was the lord of thunder, lightning and rain. On Ilyin's day, the peasants did not work on the land and performed protective rites in order to avoid the punishment of the prophet.
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Transfiguration (Apple Savior) August 6/19 Great Twelfth Feast of the Orthodox Church Transfiguration of the Lord God and our Savior Jesus Christ. The popular name of the holiday is associated with the ripening of apples on this day, which the parishioners wore to consecrate to church, after which they were allowed to eat. From that day on, the picking of apples began, Spasov's apples were treated to the sick and the poor.
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Christmas December 25/January 7 Great Twelfth Feast of the Christian Church, when the birth of Jesus Christ is celebrated. According to the peasant calendar, it marked the onset of Christmas time and the beginning of the growth of daylight hours.
Folklore - collective oral folk art. Small genres of folklore. What does the word folklore mean? - What came first: folklore or literature? - Who was the creator of folklore? - What genres of folklore do you know? - What small genres of folklore do you know?
- Tomorrow a Blue-blue-blue whale will fly from the sky, If you believe, stand and wait, If you don't believe, come out!
- Greek rode across the river. He sees a Greek: there is cancer in the river, He put the Greek's hand into the river - Cancer by the hand of the Greek - tsap!
- To be afraid of a wolf - do not go into the forest.
- Hanging pear - you can not eat.
- Bayu-bayushki-byu Bayu-bayushki-byu, Do not lie down on the edge. A gray top will come, He will grab the barrel And drag him into the woods, Under the willow bush. Don't come to us, top, don't wake our Sasha.
- Birds of a feather flock together.
- You can't even pull a fish out of a pond without difficulty.
- A rolling stone gathers no moss.
- You lay softly, but sleep hard.
- Fear has big eyes.
- Being a guest is good, but being at home is better.
- « Hunger is not an aunt, she will not feed you a pie»
- « Teach your grandmother to suck eggs»
- « Called a load - climb into the box»
- « How do you call the boat - so it will float»
- « Road spoon to dinner»
- « Yes, curls of convolutions will not replace!»
- The mice came out once to see what time it is. One-two-three-four, The mice pulled the weights. Then there was a terrible ringing - The mice ran away.
- Behind the seas, behind the mountains, Behind the iron pillars, On a hillock - a teremok, A lock hangs on the doors. You go for the key And unlock the lock.
- From the clatter of hooves, dust flies across the field.
- Karl stole the corals from Clara, Clara stole the clarinet from Karl.
- Four turtles have four baby turtles.
- Two puppies, cheek to cheek, Pinch the brush in the corner.
- Well, which of you will answer: Not a fire, but it burns painfully, Not a lantern, but shines brightly, And not a baker, but bakes?
- Sunshine, gear up! Red, show yourself! Come out from behind the clouds, I'll give you a bunch of nuts!
- Frost-Frost! Do not pull home by the nose, Do not knock, do not indulge, And draw on the windows!
- Cucumber, cucumber, Don't go to that tip: A mouse lives there, It will bite off your tail.
- Tili-bom, tili-bom Cat's house caught fire. The cat jumped out, Her eyes bulged, A chicken runs with a bucket, It floods the Cat's house!
- Three goats mowed the grass In the meadows, In the green hummocks. The goats are young, the tails are short.
- Oh, lu-li, lu-li, lu-li! The cranes have arrived. Cranes something mokhnonogi Did not find the way, the road. They sat on the gate, And the gate - creak-creak ... Do not wake Vanya with us - Vanya sleeps, sleeps with us.
- A dream walks around the hut In a gray robe. And Sonya under the window In a blue sundress. They walk together, And you, daughter, fall asleep.
- Bayushki-bayushki, Ermines jumped. They galloped to the cradle And looked at Masha. And the ermine said: “Grow up quickly! I'll take you to my place, I'll show you in the forest And the wolf cub and the hare, And the frog in the swamp, And the cuckoo on the tree, And the fox under the tree.
- Chastushka, a genre of Russian verbal and musical folk art, a short (usually 4-line) song of humorous content of a fast pace of performance. I worked for my brother - As soon as I spent my days, I asked for shoes: “Sister, I didn’t earn money!”
- fable - talk about the actions of the characters, showing their character traits. - Foma, is it warm in your hut? - Warm! On the stove in a fur coat you can endure.
- fiction tells an unusual, fictional, "inverted" picture of life. Zhona was a beauty ... she looks out the window, so the dogs bark for three days ...
- Proverb
- Proverb
- Rhythm
- Chastushka
- Tale
- cockle
- Mystery
- fiction
- chitogovorka
- invocation
- An allegorical description of an object in order to guess what was intended
- Talk about the actions of the characters, showing their character traits.
- Allegory with a didactic bias.
- A short poetic tune of nannies and mothers, as they accompany the actions of the child.
- A small rhyme, a form of drawing of lots by which it is determined who drives in a game.
- An incantatory song addressed to the phenomena of nature.
- A phrase built on a combination of sounds that make it difficult to quickly pronounce words.
- He tells an unusual, fictional, "inverted" picture of life.
- Short humorous song.
- A stable expression that describes a situation or character that does not carry a teaching.
- Proverb
- Proverb
- Rhythm
- Mystery
- Tale
- fiction
- nursery rhyme
- Hints (covertly evaluates) various phenomena of human life.
- Teaches you to guess.
- Fun teaches to distinguish between reality and fantasy, to develop imagination.
- Briefly and accurately evaluate the characters and actions of people.
- Have fun teaching baby gestures
- Help fun distribute roles in the game.
- Make fun of bad character traits or show the hero's wit.
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A presentation on the topic "Folk Art" can be downloaded absolutely free of charge on our website. Project subject: History. Colorful slides and illustrations will help you keep your classmates or audience interested. To view the content, use the player, or if you want to download the report, click on the appropriate text under the player. The presentation contains 35 slide(s).
Presentation slides
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FOLK CREATIVITY IS AN INEXHAUSTABLE SOURCE OF ORIGINAL BEAUTY
Teacher of fine arts and MHC MOU SO Bogdanov school Sinebryukhova T.V.
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The history of the artistic culture of any nation has a certain conditional beginning, from which threads stretch into the future. Russian art also has such a starting point: from the significant year 988 - the Baptism of Rus', the intensive development of architecture, painting, literature, and music begins. But let us ask ourselves questions: what place did artistic creativity occupy in earlier eras? Were those artistic images that were born in the depths of the pre-Christian civilization that sunk into oblivion erased over time from the memory of the people? What do we know today about the spiritual culture that shaped generations of people who were able to wholeheartedly accept the Christian doctrine and the most complex system of Orthodox church art that stems from it?
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The pre-Christian period in the history of Slavic culture can be called mythological. Myth is one of the ways to comprehend the surrounding reality, a set of symbolic ideas about the world. According to ancient beliefs, human life seems to be included in the endless whirlpool of nature, which does not have a higher spiritual meaning. People naively believed that without their participation the sun would not rise, the blessed warmth would not come, the long-awaited rain would not fall. Therefore, the basis of the cultural life of the mythological era was the rite - a theatrical performance in which the word, gesture, dance, music were intertwined. IN modern science this synthesis was called "primitive artistic syncretism".
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Mythological ideas about the structure of the universe inevitably gave rise to pagan religion. The ancient Slavs invented many gods. They, the inhabitants of the "miserable huts", had to win back living space, seek patronage from the sun, water, trees, stones, real and fantastic animals, whose symbolic images in the form of bronze, clay, stone, wooden idols were scattered throughout the Slavic lands. They personified the formidable forces of nature, beyond the control of human will, alien to mercy. Modern scientist B.A. Rybakov singled out the following periodization in the history of the most ancient Slavic beliefs: Initially, the Slavs laid the treb to the ghouls and coasts (that is, they made sacrifices). Then they began to put a meal on Rod and women in labor (also make a sacrifice). Subsequently, the Slavs began to pray mainly to Perun (keeping faith in other gods as well). From these lines it becomes obvious that the Slavs already, at an early stage of their development, felt the presence in the world around them of the action of two opposite principles - good and evil. Beregini carried good to people (from the word “protect”, “protect”). The evil inclination is spirits, vampires, ghouls, werewolves that harm a person. Conspiracies were made against them, they wore amulets - amulets.
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With the development of retinue military affairs, a cult of the god Perun arose - the lord of thunder, lightning, military operations. Other deities were also revered - the god of the Sun-luminary Hora, the giver of heavenly blessings Dazhd-god, the god-sower and heavenly messenger Simargl, the god of wind and air element Stribog, the goddess of fertility, the mother of cheese, the earth Makosh (Mokosh), etc. There were also lower mythological creatures deities, sometimes extremely harmful to humans, are the goblin and the water, the brownie and the bannik, the mermaid and the kikimora, as well as terrible creatures that bring grief, death, illness to people - Mara, Morena, Likho, Koschey, Baba Yaga. They “communicated” with pagan gods in specially designated places of worship - temples. Slavic gods did not have "biographies", their appearance was very indefinite. Often the same deity was revered in different tribes in different ways. Therefore, today scientists find it difficult to determine the “name” of an image.
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The antinomy of good and evil, felt so early by our ancestors, had a decisive influence on the formation of Slavic mythology. The natural opposition of life and death, happiness and unhappiness entailed more complex symbolism, duality of images. For example, many proverbs, sayings, rituals, signs that have survived to this day are based on the opposition of “right” and “left”. Over time, this resulted in the idea of Truth in heaven and Krivda on earth. The combination of "top" and "bottom" also had a global cosmic meaning. The binary symbolism "one's own" - "alien" was very significant. For example, blood relatives were considered “friends”, and all others were considered “strangers” (the eternal hostility of a stepmother to her stepdaughter). Or the native house was “one’s own”, while the forest is a sign of a hostile, “foreign” beginning (contrasting a child with Baba Yaga). Examples of "binary" thinking can be continued if we turn to one of the most striking phenomena of mythological artistic culture - Russian folk tale, especially a fairy tale.
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This ancient genre of oral folk art has its own characteristics. The tale begins with the infliction of some kind of damage or harm (kidnapping, exile, etc.) or with the desire to have something (for example, the king sends his son for the firebird). Then a miracle happens - the meeting of the hero with an assistant or a magician, which facilitates the achievement of the goal (recall that in Pushkin's poem "Ruslan and Lyudmila" the main character's miraculous acquaintance with the magician Finn takes place). In the course of the story, there is a climax - the duel of the hero with evil forces (the Nightingale the Robber, the Serpent Gorynych, Baba Yaga, etc.). Often in fairy tales, motives of kinship between people and animals are heard, it is told about the marriage of a person with a totem creature (for example, with the Frog Princess). As a rule, these texts bear the imprint of a kind and optimistic view of the world, form a sense of justice, confidence in the triumph of a just cause, the victory of good over evil - after all, fairy tales end with a happy denouement.
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AND I. Bilibin. Ilya Muromets and Svyatogor
AND I. Bilibin. Ilya Muromets and Nightingale the Robber.
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At the same time, it is obvious that the moral attitudes of the life of a pagan Slav were imprinted in fairy tales. For the sake of his goal, the fairy-tale hero is ready to break any laws, overcome any obstacles by force, cunning, deceit, without thinking too much about the price of the spilled blood of his opponents. In the imaginary mythological picture of the life of a pagan Slav, the human person was not of particular value.
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And the main evidence of the spiritual and creative talent of the ancient Slavs, their striving for beauty and harmony is the folk song - an invaluable asset of Russian national culture. Researchers call the most ancient examples of musical folklore ritual. These songs were part of rituals dedicated either to a certain time of the year or to a vital event (birth of a child, wedding, etc.). In accordance with this, ritual folklore is divided into calendar and family folklore.
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The content of the calendar songs is closely connected with the work of a Slavic farmer who loved his land and prayed to the gods to send a good harvest. For centuries, farmers have performed the same rituals, corresponding to the folk calendar: winter, spring, summer, autumn. On each of the holidays, certain rituals were performed, and songs dedicated to this holiday were sung. The purpose of these actions was one - to promote the well-being of the peasants. The cycle of calendar rites began in winter. December 25, according to the old style, was considered "the turning of the sun for the summer." On this day, a series of merry holidays opened, during which it was customary to carol - to dress up in "carnival" clothes (turned-out sheepskin coats, straw, etc.) and walk around the yards of neighbors, begging for gifts. Caroling appeared as a rite of honoring the pagan god Kolyada. Over time, they forgot who Kolyada was, the rite itself was preserved in Christian times, and it is still found in the villages today. As a rule, they carol at Christmas time from the Nativity of Christ (December 25, old style) to Epiphany (January 6, old style) and sing songs.
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Round dance songs are one of the most ancient. Round dances were danced in the villages throughout almost the entire year - both at Christmas time, and at Maslenitsa, and after Easter. Perhaps the most common were round dances-games, when some kind of plot was played out simultaneously with the movement. When playing, the participants in the round dance stood in a circle, inside which one or more "artists" performed simple plays in their faces. Round dances-processions were widespread, when participants in pairs or groups, moving in measured steps, walked around the village. However, any movement of youth always turns into a dance, which happened in dance round dances, the incendiary and daring character of which the Russian people defined with the words “chain”, “comb”, “braiding and unweaving wattle”.
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On the eve of Christmas and Epiphany, round dances and dances were replaced by the singing of the so-called sing-along songs. This meant that the time was coming for Christmas divination, mysterious, full of expectation of miracles. Fortune-telling was different, funny and serious at the same time. Most often, fortunetelling was done on water, which was poured into a bowl, then small things were lowered into it, covered with a scarf and ... they sang an underwatch song, the words of which, as it were, predicted fate. One of the oldest slavish songs is the famous "Khlebna Slava", which has attracted the attention of Russian composers more than once. On Christmastide evenings in the villages, gatherings (gatherings, gatherings, meetings, conversations, evenings, parties) were especially often arranged. Boys and girls who had reached marriageable age, i.e., 14-16 years old, took part in them. At gatherings, they sang songs, danced round dances. Often, for the sake of fun, they dressed up in animal skins and staged performances that ridiculed lazy, negligent, stingy or too timid people.
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From time immemorial, the rites of Maslenitsa, the farewell to winter, have been known in Rus'. In the Christian calendar, Maslenitsa coincided with the last week before Lent. It is called meat-fare, since these days the church charter prescribes to prepare for the fasting period and abstain from eating meat. During the Maslenitsa period, the spirit of celebration, entertainment, and reckless prowess reigned in people's lives. In accordance with ancient views, the peasants praised the sun, spring, the onset of warmth. They believed that with their songs they help the sun "move in a circle", bring the arrival of spring days closer. Each day of Maslenitsa had its own name and ritual meaning: Monday - a meeting of Maslenitsa, Tuesday - flirting, Wednesday - delicacies, Thursday - revelry, wide Maslenitsa, Friday - mother-in-law pancakes, Saturday - sister-in-law gatherings, Sunday - seeing off Maslenitsa. On the last day of the holiday, people asked each other for forgiveness, and according to Christian custom, Sunday itself was called "forgiven". Fun on Maslenitsa was ubiquitous. People rode troikas and sleighs from the icy mountains, played the game of capturing snowy towns, and held fisticuffs. The colorful carefree Maslenitsa was a symbol of prosperity, joy, and a well-fed life. Therefore, all week people went to visit each other, ate pancakes, pies, eggs. Shrovetide songs were sometimes bright, rainbow-colored, sometimes sad, as if expressing regret that a wonderful holiday flew by so quickly. On the day of seeing off, the straw effigy of Maslenitsa was taken out of the village and burned to the sound of joyful cries and merry singing. This marked the end of winter.
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Spring-red in the old days was lured by songs-springs. The spring rites themselves began on the day of the spring equinox - March 22, when the earth was freed from snow. In ancient times, people believed that spring was brought by birds that flew from distant lands with the onset of heat. Therefore, many rituals were associated with images of birds: they were baked from dough, molded from clay and straw, raised to the sky and at the same time stoneflies were performed, conjuring the sun. In the rituals of the holidays of the Trinity and Semik, ancient pagan and Christian images surprisingly organically intertwined. Semik - the seventh Thursday after the first spring full moon (that is, after Easter) was considered a holiday of the earth, fertility, the continuation of the human race. Previously, the Semitskaya week was called the Rus Week and its symbol was a young birch. In the Russian week, they went to the graves, commemorated their ancestors. It is no coincidence that even today on Saturday before the Trinity, parents are commemorated (parental Saturday). Semitskaya week ended with the day of the Holy Trinity (Pentecost). On this day (the fiftieth from the day of the Ascension of Christ) they celebrated a great event in the history of Christianity - the descent of the Holy Spirit on the apostles. Pre-Christian Semitsky rites were performed under decorated birches and were accompanied by the singing of ritual songs. The girls wove wreaths and threw them into the water, guessed, danced. Semitsky songs sang of nature, future harvest, happiness and love.
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In the summer period of the year, the main rituals were associated with the day of Ivan Kupala. Kupalo is the name of the ancient deity Yarila-sun, whose birth was celebrated on the last day of the summer solstice - June 24. In Christian times, the name of John the Baptist was added to the name, and the holiday itself became known among the people as Ivan's Day. People believed that on Ivanov's day a lush flowering of all vegetation begins, but at night, once a year, a fern flower blooms. And a great evil spirit flies and rages over the earth at this time, sorcerers and fortune tellers, werewolves and brownies, goblin and mermaids rule. They threaten to destroy the human race, and the only salvation from the devil's obsessions is ... fire. And they burned ritual bonfires all over Rus' on the Kupala night, jumped over them, swam in rivers and lakes, painted crosses on their houses and gates. Therefore, Kupala songs are mysterious and mystical and differ from other ritual melodies in their somewhat gloomy character, severity, and solemnity.
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Birth, marriage, death are natural for any person. IN Ancient Rus' these events gave rise to a huge and beautiful area of musical folklore in its artistic merits - family songs. They knew no geographical or social barriers and were loved by all sections of the Russian population, in villages and cities. Weddings in Rus' were played at a certain time of the year, free from urgent peasant affairs. Usually after the autumn harvest, before Christmas, on Maslenitsa, on Krasnaya Gorka (a week after Easter).
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Ritual actions of the Russian wedding were unusual. This is a kind of performance in which there are no spectators, everyone is a participant, everyone has their own role. The ceremony began with matchmaking in the bride's house. Here the main role was played by the matchmakers, in a playful, allegorical form, praising the merits of the groom, his industriousness and wealth. During the matchmaking, they ate, drank, sang drinking songs. After the bride and conspiracy (when they beat hands, agreeing on the amount of the dowry and the cost of the wedding), there was a bachelorette party - the most lyrical part of the wedding ceremony. At the bachelorette party, the bride cried and said goodbye to her family and friends. Many heartfelt songs sounded here, replaced by playful reproaches (friends reproached the bride for leaving them) and unhurried laudatory ones. On the day of the wedding, the groom "redeemed" the bride and the young went to church to get married. This was followed by a multi-day generous wedding feast filled with songs, dances, round dances, and games. Melodies replaced one another, but strictly in accordance with the unwritten rules of the ceremony, that is, always in place. The songs were different, and yet among them a genre of folk art, special in expressiveness, stands out - wedding lamentation. The bride usually lamented, saying goodbye to her father-mother, to her dear friends, to her carefree time. After all, ahead of her was an unknown life in a strange house and how. usually hard work.
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Crying for the dead was very ancient. The funeral rituals of the pre-Christian era reflected views on the afterlife as a continuation of earthly life in another world. Therefore, they tried to provide the deceased with everything necessary, soldiers, for example, were buried with weapons. True, no one was in a hurry to leave this land. People believed that by mourning the dead, they put off the moment of their own death. The texts of the funeral lamentations of loved ones are very expressive. The emotional side of the lamentation songs was extremely rich and sometimes ecstatic. The laments were distinguished by high artistic beauty and had the character of a melodious recitative. At first, the main part of the text was pronounced in a quick voice at almost the same sound pitch. At the end of the phrase, the woeful “fall” of the melody down a third or fourth followed. The impression was created that the cry conveys either sad or agitated speech, interspersed with sobs ... Voice can be considered the most ancient form of female solo lyrics. The voicing is usually based on a short chant, which was repeated and varied throughout the story of the deceased.
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Crying was a special, independent type of folk art, with a highly developed system of means of expression. This is evidenced by such a poetically perfect monument as the lamentation of Yaroslavna from the Tale of Igor's Campaign: Yaroslavna weeps early in Putivl on her visor, saying? “Bright and thrice bright sun! For all you are warm and beautiful. Why, sir, did you spread your hot rays On my dear warriors? In a waterless field, did their bows bend with thirst? Were they shut up their quivers with grief? (Translated by D.S. Likhachev)
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Boyan is a great ancient Russian storyteller, a very real historical person. This legendary singer was the founder of the ancient Russian singing school and laid the foundations of the heroic epic. The musical and poetic genius of the Russian people was embodied with special force in the epic genre. Bylina (or antiquity) tells about what “was”: about the most important moments of state life, about historical events, about mighty heroes. True, historical reality in epics has always been refracted, as it were, through the prism of poetry. In addition, elements of fairy tales, legends, and fantasy were very strong in the epic. In the center of the epic events - main character that gets into the most unusual situations. He fights hordes of enemies, shows miracles of courage and at the same time sets an example of high morality, defending justice.
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Epics are born that tell about the struggle against the Horde yoke, tell about new travelers, about the emergence of the Cossacks on the Dnieper, Don and Volga. Epics were sung throughout Rus', and they were as ancient as ritual songs. This does not mean that there were no other, later genres in musical folklore. For example, in the XV-XVI centuries. the lingering song was born and was originally performed exclusively by women. In these songs, it was usually about love, marriage, the infidelity of lovers, a difficult female lot. In terms of richness of images, strength of emotions and beauty of music, the long song has no equal. The range of topics that influence the content of lyrical songs is unusually wide. Family life, marriage, love, jealousy, death - all this became the subject of musical comprehension. There were no discoveries in the subject of lyrical songs, many "plots" were encountered earlier in ritual genres. However, a new, special musical world was formed in the lyrical song, as if conveying the vast expanses of Rus' and the depth of feelings of a Russian person. The melodies of lyrical songs are unique, they are distinguished by their great length, wide breathing, and intonation expressiveness. It is with lyrical lingering songs that the flowering of the famous Russian polyphony begins in folk art! Elements of polyphony can also be found in other, earlier genres, but in the lyrical peon, choral folk polyphony reaches its peak.
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From the 15th century the birth of new types of folk singing is combined with the rethinking of old ones. Among them is a special kind of folk epic - historical songs. Many of them are dedicated to great events in the history of our state, such as the Battle of Kulikovo. Unlike epics, there is no room for fantasy or fiction in historical songs. The heroes of historical songs, as well as the events they sing about, are real. The earliest historical songs are devoted to the events of the reign of Ivan the Terrible (about the capture of Kazan, about the conquest of Siberia by Yermak, etc.). The historical song reaches its peak in the 17th century, when there is a sharp change in cultural orientations and the usual medieval norms of life break down. Recordings of songs of that time have come down to us only in versions of the 18th century, so many tunes that existed in the oral tradition should be considered irretrievably lost. And yet, folk memory has brought to us many beautiful ancient songs. And in the XIX century. folk art has become great power that helped Russian music create its priceless classics. “The people create music, and we, the artists, only arrange it,” said M.I. Glinka. His words are not a tribute to fashion, but a frank recognition of the merits of Russian folk music and the genius of its many unknown creators.
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