One of the priority areas for the development of pedagogical science in modern conditions is the upbringing of the younger generation through familiarization with folk traditions. It is no secret that the earlier a child comes into contact with folk life and rituals, the deeper he will understand and feel the history and culture of his people, their worldview, moral and aesthetic views.
Yos taga essynnisene yurat "-" Love work and people of work "- this is the most important commandment of the Chuvash folk morality. This moral requirement was inculcated from childhood. Already in children's games, a labor element is manifested: children, imitating adults, copied some labor operations, in the process of playing they made toys themselves, cleaned the place where they played. Labor interest in children was also developed and supported by a peculiar set of toys: at a younger age, household items predominated among them, then the children themselves, with the participation of adults, began to make toy tools. Gradually, children moved from toy tools to real ones.
Children in labor and games, copying the labor activity of adults, imitating adults, sang labor songs. These songs, combined with the participation of children in labor, simultaneously contributed to the aesthetic education of children. The presence of this element, in turn, strengthened the idea of the moral and aesthetic significance of child labor.
The children were instilled that labor is the source of human existence: “Vug humasar sakar tesmest, eslese tesohmesyor surt yor pulmast” - you won’t bake bread without heating the stove, you won’t make a household without the habit of work”, “If, if, if si, eslemesen an ta si "- Work, work, work and eat, if you do not work, do not eat." The Chuvashs sought to develop in children from an early age endurance to work: “Al-urle haparat - eslenipe mar. tesmennipe "-" Calluses on the hands and feet - not because of work, but because there is no habit of work. The Chuvash considered industriousness to be such an important feature of morality that, by the quality and result of work, they considered it possible to assess the moral character of a person, for them the attitude to work is the main criterion for evaluating a person: “Sons menle^yo te savhamkal” - “What a person is, such is his work” .
The moral requirement - "Love labor and people of labor" is also joined by another - "Respect the old, be polite with people." Old people need to be respected, first of all, because they have a huge life experience accumulated in the course of their work. Many proverbs, sayings, songs and fairy tales speak about respect and respect for old people.
Most of the Chuvash fairy tales highlight the selfless struggle of folk heroes with all kinds of monsters, from which people could not live. In historical legends and traditions, the folk heroes of the Chuvash people are sung, who defended the interests of the working people in a joint struggle against enemies. The children were taught: "Chun asaplanakan - forest tupakhan" - "The one who makes others suffer finds wealth."
Also, the ideas of patriotism and friendship of peoples were clearly reflected in folklore: “Tavan sershyve, tavan halakhna yurat, ytti halakhsene hiseple” - “Love your homeland, your people, respect other peoples” - this is the next commandment. It is especially pronounced in the words of the fairy tale “About the Master and the Worker”: “Tavan Sershyv etemisen nimren te hahlarakh ene-ha” - “Homeland is dearer to a person than anything in the world!”. The theme of the motherland, the theme of patriotism is very common in oral folk art. It is very significant that in almost all fairy tales the main character, who went to travel, seek happiness, save the bride, eventually returns to his homeland. Usually the fairy tale ends with his return. The motherland is better than all countries just because it is the motherland: everything is close to the heart there, there are relatives, even the land and water there are somehow special, native, it’s not for nothing that the Chuvash call their homeland “tavan sershyv”, which literally means “relatives land and waters.
“Khalkhan teleilo pulaslahne shahsa tar” - “Believe in the bright future of your people” - this is how the following commandment of Chuvash morality can be formulated. This belief in a brighter future is reflected in many ways. The people inspired the youth that the people's grief, the people's misfortune is not hopeless, eternal. The Chuvash proverb - "Khuykha hyssan savanas kilet" - "After grief comes joy" - it expresses that unshakable faith of the people in a happy future.
A friendly family, friendly life in the countryside, friendship of all working people towards fraternal unity was preached in every possible way.
The theme of friendship, solidarity, the collective is widespread in the Chuvash musical folklore. First of all, friendly life in the family, friendship between brothers and sisters, between relatives was promoted. The song "Tavanam, tavanam, myon tavar?" “What are we going to do, my brother?” and she herself answers: “We will live in eternal friendship, we will be together forever!”. If all family members live in good harmony, the Chuvash say, then even a stick lying idle in the street will end up in the yard and at work; and if this friendship is not in the family, then the wand from the yard will be on the street.
Of great importance in the development of the culture and art of the people is their native language, which, undoubtedly, is one of the important and characteristic elements of the national form of culture. Disregard for the language and customs of the people is gradually replaced by alienation from parents who communicate with each other in Chuvash, and teach their children only Russian. Therefore, the task of educators and parents is to teach children to speak and think in the language that their ancestors spoke, and through this to convey to the children's hearts the depth of folk wisdom.
Chuvash children's oral and poetic folklore is divided into various genres: "Sapka sulösen poeziyyo", "Calendar of poetry", "Chenu-yyhrav savvi-yurri", "Kullenhi sava yura", "Vaya yurrisem", "Vitleshu takmakyosem", "Shutsem" , "Havart Samakh", "Varttan Chelhe", "Yumah Khalap", "Kalavsempe Yuitarusem".
The first song a child should hear is a lullaby. With mother's milk, she must penetrate into the children's consciousness - affectionate, warm, gentle, kind. "Sapka yurrisem" - small songs. The heroes of these songs are close to children. These songs wish happiness, health and a good life to those to whom they are sung. They help put the child to sleep, teach to be a good and smart person. Hearing these songs, the child gets acquainted with friends - birds and animals, with nearby villages, rivers, forests. These songs introduce the child to labor activities that need to be performed at home.
Another genre is the Poetry Calendar. The works of this genre are closely connected with the life and customs of the Chuvash. They help to acquaint children with natural phenomena, with life and customs.
In these songs, the main role was assigned to children, because for a long time the Chuvash considered children's naivety and purity capable of influencing the forces of nature. In the family, one of the children was considered the happiest. And at the time of sowing, he had to get up before everyone else and be the first to sow a small patch of field. And sing: Kayak ku9yo shattar,
Children played a significant role in the holidays. They sang songs, danced, competed. At each festival, different songs were sung. Surkhuri was celebrated in winter. Children gathered in groups and they were called "surkhuri achisem". They went from house to house with wishes to the owners of good, health, health, good harvest and fertility of livestock, prosperity in the house. And they were treated to pies, koloboks, etc. But “surkhuri achisem” first had to sing songs.
Salakayan salmanekyon, Ula kurak ulmanekyon, Epir hamar ta savnashkal Kuhalshyon te yavashan.
Sitryo, 9itreo, surkhuri!
Surakh uri, surakh uri teremer,
Surkhuri sitre, ah, kuran,
Aytar, tukhar, achasem,
Kilyorel kile surёper,
On a festive evening, the children gathered for games. These games were called "surkhuri voyisen".
And at the end of winter, on Maslenitsa (savarli) new joys for children. The Maslenitsa went on for a whole week. The guys rode down the hill on a sled, baked pancakes, sang, played, joked, competed. Children during this holiday saw rituals associated with the cultivation of the land. Whoever goes down the hill first was called “serey uri khuekhkanyo”. He was considered the bravest and most hardworking child in the village.
The most common genre of children's folklore is "Chonu-yyhrav savvi-yurri" (calls and sentences). An invocation is a poetic appeal of children to various natural phenomena (to the sun, rain), and a sentence to animals. Previously, our ancestors believed that everything that surrounds them is as alive as they are. Therefore, they addressed the environment as a living being. Therefore, children must pronounce the incantations with the imagery of each rhyme.
Hevel, tuh, hevel, tuh!
Achu shiva kain, tet.
Turchakuna turtsa silt,
Milkupelen shalsa ill.
Hamach kope tahantart.
Pylpa kulacho siter
All genres of oral-poetic children's folklore are of great importance in the upbringing of the younger generation. Labor is the basis of the formation of man. Diligence is one of the leading ideological and moral qualities of a person. In diligence, the main moral and volitional indicators are refracted - responsibility, diligence, diligence, discipline. The need to work is formed from early childhood. And therefore, songs play a great role in shaping the industriousness of children.
In childhood, imitation is highly developed. The child should know what kind of work people used to do, what rituals and traditions they had. All this forms a child's interest in work, in working people.
Traditional means of imitation and formation of labor interests are not only songs, but also nursery rhymes, proverbs and sayings, riddles, fairy tales, allusions and other genres.
The genre of labor songs plays an important role. Songs such as “Savay sapahalsen yurri” (“Song of the bridge builders”), “Kaska tatahansen yurri” (“Sawyer’s song”), “Chapta 9apahalsen yurri” (“Song of the kuletkas”), songs of spinners shaking hemp, and many others songs. Children use many of them in their environment in games and work.
Labor songs support labor rhythm. They attract the attention of children not only with the theme of labor, but also with high poetry. So, for example, in the song of the bridge builders there is a call, counting the blows, to drive piles together, to count the piles themselves, that is, to remember all the time about the work done and how much remains to be done, good wishes are expressed “let the bridge be steel, the railings copper ”, in the very poeticization of the future bridge - an indirect call for high-quality work. The song contains poetic wishes to those who will walk and ride across the bridge - let the pedestrian be in beautiful shoes and let the rider have a winged horse.
The nursery rhymes used by the elders, amusing and reassuring young children, are interesting not only because they arouse their labor interest very early. In them, in addition, the idea of the paramount importance of work in life is persistently carried out. Above all, work, and the smallest child should understand this and favor the work of adults. "Kurak, kurak!" The mother tells the little girl: her beloved daughter’s pants were worn out, and the tow remained on the fence, the mother was unable to spin the threads, weave and sew pants from that canvas, but the girl does not want to understand this - all the time near her mother and prevents her from working. The personal interest of the child in the work of adults was also used in this way, and the idea was inspired in them of the importance of contributing to the success of labor. Interfering with a worker is the most unworthy act, as it was considered in the Chuvash environment.
Thus, labor interest was maintained in children continuously, starting from a very young age: the smallest lullabies were sung, children a little older heard counting rhymes and nursery rhymes in which labor appeared, then the children themselves sang songs in which the theme of labor was certainly present. Children played games in which they imitated the work of adults, listened to ritual songs that sang of piles, labor songs that made work easier.
Folklore is of great importance for familiarizing preschool children with natural phenomena. In poems and songs, children hear for the first time, for example, about the sun, about the role it plays in people's lives.
Pah, hevel, pah, hevel! Su chulmekpe su parap, Pyl chamekipe ardent parap, Achu shyve kaisassan, Cavente pusepe turtsa ilep. Sana hurley, mana shurri. They learn about rain, begin to observe phenomena in nature. Su, sumar, su, sumar. The ardor of the katkipe whined parap, Su katkipe su parap.
The song wealth of the people is its spiritual wealth. The song reflects not only the breadth and generosity of the Chuvash character, it contains the secret of its inevitability. If you want to understand the people, understand their song. It is inexhaustible, like character. In folk songs - the fate of the people. Our Chuvash musical folklore is interesting and accessible for young people. Therefore, not only educators of Dega kindergartens, but also parents should acquaint the younger generation with folk traditions, rituals, should study the songs and dances of their people.
Children's folklore is a specific area of folk art, uniting the world of children and the world of adults, including a system of poetic genres of folklore.
In many children's songs and games, the time and events that have long been lost by the memory of the people are reproduced. Children's folklore helps historians, ethnographers to better understand the life, way of life, culture of our ancestors.
Many children's amusements are playful imitations of the serious business of adults, a means of preparing children for life. They reflect the production and economic activities, national psychological traits and the social life of the people.
Proverbs and sayings, songs, rituals, fairy tales gave people aesthetic pleasure, carried at the same time a certain amount of vital information. Popular views on education are reflected in hundreds of proverbs and sayings.
The songs contain centuries-old legends and innermost dreams. Their role in the upbringing of a preschool child is enormous. Thanks to poetic words and beautiful melodies, they have a strong influence on the feelings and consciousness of children and remain in memory for a long time.
The songs are valuable in their musical and poetic design of ethnic, aesthetic, and pedagogical ideas. Beauty and kindness in the song act together. Good fellows, sung by the people, are not only kind, but also beautiful.
Songs are a more complex form of folk poetry than riddles and proverbs. The main task of songs, their purpose is the development of aesthetic views and tastes. Understanding the beautiful in word and melody, according to popular belief, implies a creative attitude towards it. In the process of performing the song, its improvement was also allowed - the text and the melody.
The song is characterized by high poeticization of all aspects of folk life, including the upbringing of the younger generation. The pedagogical value of the song is that it was taught beautiful performance, and it taught beautiful and kind. The song was accompanied by all aspects of folk life - work, holidays, games, etc. The whole life of people found a response in the song, it 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 the baby from the cradle, her mother sings, although four- and five-year-old children can sing it, comforting their younger brothers and sisters. The purpose of lullabies is to lull, lull a child to sleep.
The lullaby is a great achievement of folk pedagogy, it is inseparably connected with the practice of raising children precisely at that very tender age when the child is the object of education. The main content of lullabies is the mother's love for her child, her dreams of a happy future for him. Images of a comfortable, happy life predict the future of a lulled child. These images are combined with images of birds, wild animals, domestic animals, funny and scary, affectionate and angry. Coming to the cradle The wonderful world of animals and birds surrounds the child in a song. Pestle is a noteworthy means of educational influence. In them, the growing child completely occupies the attention of an adult.
Pestles are short poetic refrains that accompany the movement of the child, or by pronouncing them, encourage him to move. For example, Chuvash mothers express a wish: "Be big, be big - with every pull-up, but add spans in height."
In ancient times, folk pedagogy developed methods for raising a child in the lullaby period, strictly dosed out the cognitive material introduced at this age, determined the role of joyful emotions for raising a cheerful person, the importance of the foundations of morality laid in early childhood, and consolidated all this in primitive from the point of view of adult human poetic works-amusements. Nursery rhymes - songs accompanying the child's games with fingers, arms, legs. In these games, there is often a pedagogical instruction in diligence, kindness, a lesson in friendship and camaraderie.
Rhymes are the first rung of the ladder leading to the knowledge of the riches of the native language and the assimilation of folk poetry.
Mothers know a special form of jokes, in which good wishes are an indispensable attribute. They are found in bath jokes, which are usually pronounced by the mother, caressing the child with a broom: “If you see a man, call him uncle, if you see a woman, call her aunt, and call the girl sister.” Such well wishes are an important component of many jokes.
A lot of place in the life of children was occupied by invocations and sentences. They are full of faith in the omnipotent forces of earth, sky and water, their fulfillment introduced children to life and work. Children early learned to share sorrows and joys, work and cares of adults.
The importance of games in the upbringing of children is great. Word, melody and action are closely connected in them.
An important role of children's games is the development of dexterity and agility in children, in addition, games are also artistic and dramatic. Through games, the child is instilled with respect for the existing order of things, folk customs, and he is accustomed to the rules of behavior. Games for children are serious activities, a kind of lessons that prepare them for work and struggle. Game activity preceding social activity, as it were, is a dress rehearsal, sometimes merging with labor holidays and leaving, as an integral element, in the final part of labor; the game moment can be in the process of labor. Thus, a certain cycle takes place: cooking games! to labor activity, and labor ends with games, fun, general fun. Oddly enough, the connecting link, as if the warming beginning, in this trinity is the song. She is in the game, she is in work, she comes to after-work entertainment. Childhood is very rich in songs. Boys are especially fond of heroic songs, songs of warriors, robbers, etc. There is a lot of interesting and at the same time strange and obscure in children's games
preludes. Apparently, the imitation of children had an effect here to a certain extent.
adults, copying their activities. This is evident even in the draw:
Lstuh! Astukh! Knock! Knock!
Men kirle? What do you need?
Karaska. Paint.
Men tesle? What colour?
Keren. Pink.
Apparently, this drawing of lots was borrowed by children from the conversation of adults with children who went from house to house and sold paints, especially since every time there is approximately the same conversation between merchants and buyers.
A very common type of children's folklore are counting rhymes. There are abstruse counting rhymes, stammering counting rhymes and counting rhymes.
Among children, widespread counting rhymes are stammers. In stammering rhymes, children's conscious creativity is manifested more clearly than in abstruse rhymes. There are understandable words and lines here, only some words and lines are replaced with incomprehensible words for rhythm, and sometimes for rhyming purposes. Incomprehensible words are used because it is always possible to find understandable words ire to match the rhythm and rhyme. Example: Way way way way essence essence sutele
It should be noted that excerpts from some children's songs are often used as counting rhymes. In the course of turning Dega songs into counting rhymes, the meaning of words is often distorted. This is explained, apparently, by the fact that in counting rhymes the main thing is rhythm, then rhyme, and the content and meaning of words are in last place. In counting rhymes, words for children do not have a semantic, but mostly only a sound meaning, children count by sounds - by indefinite and definite words and in parts.
There are many songs accompanied by trampling, dancing or gradually turning to dancing. Such songs, accompanied by dance movements and dances, enjoy the love and attention of children of all nations.
The Chuvash have a lot of interesting comic songs, which, along with showing the action, characterize the quality of the object and phenomenon. These actions are ridiculous, the behavior of people, the course of events evoke irony.
Folk pedagogy empirically came to identify the upbringing and educational functions of songs. Educators from the people intuitively understood the pedagogical value of certain musical and poetic works, and deliberately without setting specific goals, spontaneously cultivated the most effective creations of the people's mind or the children's environment itself.
The main methods of moral education in folk pedagogy were explanations and persuasion. There are many means of persuasion: proverbs and sayings, stories, fairy tales, legends, legends.
Proverbs and sayings were effective means of persuasion in moral education. The elders, talking with the children, often spoke in proverbs and sayings, connecting them with each other, making up something logical whole. “Mana nim te kirle mar val tegen. Yemyor sakki sarlaka, yomör tarmyonche katak blizzard ta kirle pule tessho" - "You quarreled with your friend and say that you don't need him for anything. The bench of life is wide, in life, they say, an ax with a broken edge is needed. Here, two interconnected proverbs act as an ethical conclusion. The skillful combination of proverbs and sayings in meaning and meaning in conversations with children turns them into a kind of moral code. Experienced teachers did just that, they selected the most valuable proverbs and sayings in terms of content, and voluntarily or involuntarily turned them into rules for the decent behavior of young people in society.
During leisure hours or at work that does not require much physical effort, most often in autumn and winter, it was customary in Chuvash life not only to sing songs, tell fairy tales, but also to guess riddles and guess them. This occupation required a certain effort of the mind and resourcefulness. There was even a comic punishment: those who failed to guess this or that riddle were “sold” - to a guy or a boy) ’, they promised a decrepit old woman as a wife, a decrepit old man was predicted to be a husband for a girl or girl.
Among the people, the riddle continues to remain not only as a means of education. The upbringing and educational role of the riddle has made it a tool not only for home and school pedagogy.
The pedagogical value of riddles is that it acquaints preschoolers with “the joy of thinking”, directs attention to objects and phenomena and their outstanding features, encourages them to delve deeper into the meaning of the verbal designations of these features, and increases the ability and certainty of thinking.
Riddles are clever, highly poetic, carry a moral idea. They respectively have an impact on mental, aesthetic and moral education. Riddles are designed to develop the thinking of children, to teach them to analyze objects and phenomena from various areas of the surrounding reality, and the presence of a large number of riddles about the same object allows us to give a comprehensive description of the object (phenomenon). But the significance of riddles in the mental education of preschool children is far from being exhausted by the development of thinking; they also enrich the mind with information about nature and knowledge from various areas of human life. The use of riddles in mental education is valuable in that the totality of information about nature and human society is acquired by the child in the process of active mental activity.
The development of memory and thinking, the enrichment of the mind with knowledge is the main purpose of riddles. However, the meaning of riddles is not limited to this. Riddles enrich the child's mind with such knowledge that contributes to the formation of other personality traits. The mind of a child who solves riddles is enriched not only with smart thoughts, but also with good, beautiful thoughts, etc., and in close connection with the first and in submission to them.
Each new riddle solved by the child strengthens his self-esteem, is the next step in the development of his thinking.
If the riddle is not solved, it causes in him a thirst for knowledge in order to be equal to others, "not to be worse than others." The riddle, thus, stimulates the mental activity of preschoolers, instills a taste for mental work.
Fairy tales are an important educational tool for preschoolers, developed over the centuries by the people and tested by them.
Life, the folk system of education proved the pedagogical value of fairy tales, their role in the formation of children.
The story has both cognitive and educational value. It was the masterful combination of educational and cognitive in the fairy tale that made them very effective pedagogical means.
Many folk tales inspire the child with confidence in the triumph of truth, in the victory of good over evil. As a rule, in all fairy tales, suffering is positive! about the hero and his friends are coming, temporary, joy usually comes after them - the result of the struggle, the result of joint efforts. The optimism of fairy tales is that feature that children especially like and enhances the educational value of folk pedagogical means.
CHUVASH FOLKLORE: CULTURAL AND EDUCATIONAL
ASPECTS
Petreykina Irina, secondary school No.1st Shumerlya, 8th grade
Teterevova Ekaterina, secondary school No. 1, Shumerlya, grade 8
Scientific adviser:
Vasilyeva Nadezhda Sergeevna, teacher of the Chuvash language and literature, secondary school No. 1 in Shumerlya
The President of Chuvashia, N. V. Fedorov, in his Address to the State Council of the Chuvash Republic for 2010, noted: “The boundaries of time and round dates are more symbolic than practical. But they give us a reason to reflect on the past. Appreciate the present. Draw conclusions. Think about the future."
Folk art is the past, living in the present, aspiring to the future with its dream of the unprecedented. This is the cultural memory of the people, inseparable from the deepest aspirations of our time. [Nekrasova M.A., 1983: p.5]
Having originated in ancient times, having gone through a centuries-old path of development, folklore has become a kind of oral, living, speaking chronicle of the distant historical past. The introduction of elements of folklore into the practice of musical and aesthetic education, the study of the traditions and customs of one's people are the most important link in the process of forming a high artistic culture among students. Knowledge of the musical culture of your people will allow you to realize the specifics of musical creativity and the culture of other peoples.
A music lesson as a compulsory subject in any school happens once a week and there is no time left for introducing children to folk music, which introduces them to their native people, native nature and national identity.
So, the relevance of the problem of our research becomes obvious: the lack of opportunities for the development of musical abilities in the educational process in the proper amount. Children sing in kindergarten, and in elementary school they also want to sing, since the desire to sing is genetically inherent in them, therefore, the first songs are motherly, folk.
The well-known scientist and teacher, academician G.N. Volkov, musicologists M.G. Kondratiev, Yu.A. Ilyukhin, many historians and researchers of past years (S.M. Maksimov, G.G. Liskov, F.P. Pavlov). Historical and pedagogical aspects of the inclusion of the Chuvash folklore in the educational process are revealed in the works of Yu.A. Dmitrieva, Yu.D. Kudakov, L.V. Kuznetsova, T.N. Petrova.
The purpose of our study: to prove the importance in the educational process of studying the Chuvash musical and poetic folklore.
The object of research is folk art in the educational process.
In accordance with the purpose and object of the study, we set the following tasks:
Consider the Chuvash musical folklore in a general cultural aspect;
To reveal the influence of the Chuvash folklore on the development of highly artistic abilities in students;
Determine the main directions of the use of the Chuvash musical and poetic folklore in the educational process.
The following methods were used to solve the research problems:
Analysis of psychological, pedagogical, art history literature;
Analysis of advanced pedagogical experience;
Conversation;
Questioning.
The practical significance of the work is visible in the application of these studies in the programs of educational and educational activities of the school.
In the course of work, we got acquainted with a large number of psychological, pedagogical, art history literature.
Having examined the works of research teachers, we saw that they all consider folklore to be the most effective means of instilling in children a love of beauty.
The word "folklore" consists of two words: "folk" (folk) - people and "lor" (lore) - knowledge, wisdom; translated into Russian, it means "folk knowledge", "folk wisdom". Folklore is creativity created by the people and for the people. [Rodionov V.G., 1982: p.6]
We are often amazed how, under a torch, in cramped conditions, in his difficult life, a person knew how to enjoy life: he sang cheerful songs, danced, weaved bright patterns, decorated children's toys, kitchen utensils, and objects of labor with bright colors. There is a festive feeling of peace in all this.
Chuvash folk music to this day keeps the traditions coming from the worldview, the national character of the Chuvash. Traditional among the Chuvash is the veneration of the father, mother, respect for the elders, love for the land-nurse, careful attitude towards it, a sense of family in an effort not to be separated from relatives and friends. Many Chuvash folk songs speak of this.
The song is one of the main traditional genres of national musical folklore, which is a deep and truthful musical image of the people, their character, psychology and worldview. Folk song as an inexhaustible source of folk wisdom is an invaluable means of ethnopedagogy.
Songs were created by folk singers and storytellers, whose names are mostly unknown to us. They were recorded and passed down from generation to generation, sometimes for centuries. “Ancestors passed it on”, “She came from grandfathers” - the Chuvash say about the song.
The relationship of the Chuvash to music and singing is clearly revealed in the legends, fairy tales, traditions and proverbs of the Chuvash people. They say, for example, that the song has always lived in great friendship with the people, that she was inseparable from him in work and at rest, that she shared both grief and joy with the people: "People rejoice, and the song rejoices ; people are sad, and the song is sad ... "
V.A. Sukhomlinsky drew attention to the pedagogical aspects of folk music when he wrote: “The Chuvashs have many folk songs, the memorization of which helps children learn different forms of expression, especially respect for elders. In educational terms, there is a lot of important meaning in instilling in children a sense of gratitude. On the one hand, this is the memory of goodness and kindness, on the other hand, the maintenance of parental authority. [Petrova T.N., 2000: p. 77]
The song continues to be the main wealth preserved by the Chuvash people to this day.
We have revealed the influence of the Chuvash folklore on the development of artistic abilities in students. Children already at an early age are able to aesthetically perceive the beautiful in nature; games and folk art. They show great interest in anything that catches their attention. One of the most effective means of aesthetic impact on children has always been oral folk art, primarily its most complex genre - fairy tales. In fairy tales, children heard proverbs and sayings, riddles and questions of ingenuity, and songs that were remembered by children, but could be performed separately, occupied a lot of space in them.
Upbringing and education has existed among the people for as many centuries as the people themselves exist - it was born with it, grew up with it, reflected in itself the whole history, all its best qualities. [Volkov G.N., 1958: p. 11]
The people had their own system of introducing the younger generation to the beautiful. Its characteristic feature is the close connection between aesthetic education and labor education. Aesthetics, created in labor, was one of the most important means of personal development.
One of the most effective means of aesthetic influence on children has always been oral folk art, primarily its most complex genre - fairy tales.
The fairy tale is extremely quickly imprinted in the memory of the child with all its pictorial particulars and winged expressions. Peculiar poetic turns of speech in fairy tales enhance the aesthetic impact on children. Many fairy-tale characters have permanent epithets: pěr pichě hěvel, tepěr pichě - uăh, tilě-tus, y p a -utaman, kikirik-avtan, çil-urhamah, hura ěne - çělen khÿre, etc. Such epithets contribute to the disclosure of the aesthetic images of the heroes of fairy tales.
Proverbs and sayings were effective means of persuasion in moral education. The elders, talking with the children, often used proverbs and sayings.
For example, proverbs about politeness and respect for elders: “Watta kursan, çělěke hyv”, “Vat çynna hirěç an kalaç”.
A friend, a comrade must be an honest, good person. Therefore, young people are advised:
"Usal hyççăn an kay" or "Usalăn yěrne an pus, teççě" "Usaltan tar, yră patne pyr".
The aesthetic perception of fairy tales, riddles and proverbs, their expressive means, the brightness of the narrator's language enriches the vocabulary of the students, makes their language expressive.
The Chuvash people have long been famous for their musicality and poetic disposition of the soul, the beautiful melodic songs of the Chuvash attract attention with expressive intonations and subtle psychologism.
The use of Chuvash musical folklore as a pedagogical problem is a necessary part of the overall pedagogical process at school: the study of national musical culture, the musical traditions of the people, the development of a sense of pride in these traditions for national artistic wealth, for national culture. The school, as an educational institution, releasing from its walls into the life of a person who knows and knows how to appreciate the culture and art of his people, is in fact a figurative field of art.
Art improves and develops the feeling of people, through it a person not only learns the surrounding reality, but realizes and asserts himself as a person, because art has such an impact on a person that helps to form him comprehensively, to influence his spiritual world as a whole. All types of art (music, painting, word, applied art, etc.) are capable of influencing a certain side of a person's spiritual state.
We held a number of events, in particular, a conversation with middle school students about Chuvash folklore. The students defined the word folklore, talked about the main genres of folklore, recalled fairy tales, proverbs, sayings, studied in the Chuvash language lessons, etc.
During the conversation, it turned out that the students are interested and want to learn more about the Chuvash oral folk art.
The study also included a survey among students in grades 6-7, in which 128 people participated. They were asked a question: what forms of studying the Chuvash language are the most interesting and convenient for perception? Three answers were given: a) presentation; b) folklore; c) texts. 10% of respondents chose text, 25% - presentation, 65% of students chose folklore. From this it follows that the Chuvash folklore is an acceptable means of learning the language.
The conducted research made it possible to come to the following conclusion: the stages of development of the history of the people, its culture, spiritual and national self-consciousness are imprinted in folklore. It is an inseparable part of the history of the people, their life.
Chuvash folklore material is a significant tool for the formation of respect and familiarization with the native Chuvash culture, folk art; understanding the relationship of cultures of different peoples through knowledge of the historical past of the Chuvash people.
The new educational standards of the new generation of one of the main goals imply an educational nature in the educational activities of the school. "Spiritual and moral development and education of students is the primary task of the modern educational system."
We propose to introduce a folklore course into the school curriculum. This course will be of great importance in preserving traditions and love for their small Motherland.
In addition to the folklore course, the following forms of work can be applied at school:
1) for the purpose of integration, include elements of folklore in the lessons of the Chuvash language, fine arts, music, history, literature, which is important to take into account when drawing up curricula;
2) holding school events with the involvement of the parent
the public, in particular, grandparents, to preserve folk and family traditions as an educational and educational activity;
3) involve structures of additional education. For example: theater
studio to choose the content of the repertoire based on the Chuvash folklore.
Literature.
1. Volkov G.N. On the traditions of the Chuvash people in aesthetic education. - Cheboksary, 1965.
2. Volkov G.N. Chuvash folk pedagogy. - Cheboksary, 1958.
3. Nekrasova M.A. Folk art of Russia. - M.: Soviet Russia, 1983.
4. Petrova T.N. Chuvash pedagogy as a phenomenon of world civilization. – M.: Prometheus, 2000.
5. Rodionov V.G. Issues of genre classification of Chuvash folklore // Chuvash folklore.genre specifics. Digest of articles. - Cheboksary, 1982. - pp. 54-105.
6. Encyclopedic Dictionary of a Young Musician. For middle and senior school age /Comp. V.V. Medushevsky, O.O. Ochakovskaya. - M .: Pedagogy 1985.
For a long time without their own written language, the Chuvash people expressed their thoughts and aspirations, their observation and wisdom, their experiences in oral poetry.
The most common genre was folk songs. Chuvash songs accompanied almost all labor processes, from household chores (spinning, weaving, etc.) to agricultural work. Singing songs was a favorite entertainment during the holidays, especially among young people. In the spring, young people led round dances with games, dances, songs, either smooth, unhurried, subordinating the rhythm of movement, or fast, swift during dances and games.
Many songs are associated with certain rituals and holidays. There were songs of thanksgiving and pleading, with them the Chuvashs turned to various forces of nature, on which, according to their ideas, well-being depended, or to their ancestors, who also allegedly had the opportunity to help their relatives.
After spring field work, youth ritual games began, known as vaya, tapa, or uyav, which continued until the rise of fallows and haymaking.
Among the ritual songs, many are associated with the wedding cycle. Here is the “lament of the bride”, full of chanting of girlhood and horror before the heavy bondage of a married woman, songs of bridesmaids and groomsmen, as well as representatives of the older generation with wishes for the new family of all kinds of blessings.
Drinking songs were widely used, which usually sang ancient customs, the friendship of relatives * the sanctity of labor on earth and at the same time showed dissatisfaction with the existing social order.
The lyrical songs are touching in content and sincere in performance. Their usual themes are: the experiences of a young man or a girl yearning for her beloved, a woman's lamentations for a difficult fate in the family, etc.
Later, already in the capitalist period, a satirical song such as a ditty, the so-called Sormovskaya, which was brought by otkhodniks, spread. In these short songs, the love interests of young people were jokingly depicted, but more often they sharply and maliciously ridiculed the shortcomings of certain members of society, and often of its entire strata or classes.
In our time, old songs are mostly preserved only in the memory of the older generation; their place was taken by new songs glorifying free labor and the heroic deeds of the Soviet people. Chastushkas are very popular among workers and collective farmers, often composed by themselves on local exciting topics.
The genre of fairy tales is significantly developed among the Chuvash. They are sometimes intertwined with folk legends about various historical figures, whose images are strongly poeticized. There are many plots in common with fairy tales of other peoples. Especially often in Chuvash fairy tales, a beneficial connection with the land is emphasized and work on it is exalted.
As in the fairy tales of other peoples, the main character of the Chuvash is a peasant son, who experiences a series of adventures and finally triumphs over dark forces. The hero usually gets a better share not only for himself, but also for the people. In the folklore of the Chuvash there are many sayings, riddles, proverbs. The themes of all these types of folk art are closely related to everyday life.
The initiator of literature in the Chuvash language, mostly translated from Russian, was the creator of the Chuvash letter I. Ya. Yakovlev, who wrote short stories from the life of the Chuvash. Later, the education of the Chuvash intelligentsia led to the emergence of the first Chuvash writers and poets. Among them, we can mention I. N. Yurkin, G. T. Timofeev, K. V. Ivanov, F. P. Pavlov. True, it was difficult for the first Chuvash writers to print their works, but they were usually copied by literate youth, and in this form they went to the masses.
Shortly before the revolution of 1905-1907. Chuvash literature left the handwritten stage and began to spread much more widely. In 1906, the first Chuvash newspaper "Khypar" ("News") was published, which also published works of art. It was published during 1906 and 1907. Despite the reaction that came after the revolutionary upsurge, the number of Chuvash writers increased.
The largest of them was K. V. Ivanov (1880-1915) - a poet, publicist, satirist, translator. He wrote in his native language and did much to enrich it. Among his works, the poem "Narspi" with a dramatic plot from folk life was especially famous. Satirical writers who revealed social contradictions in the Chuvash society were M. F. Akimov, T. S. Semenov-Taer, N. I. Polorussov-Shelebi, M. F. Fedorov, who wrote the beautiful poem "Arduri" ("Leshy" ), full of pictures of social injustice and the bleak life of the poor.
The October Revolution opened a wide road for Chuvash literature, as a result of which the Chuvash people got the opportunity to fully develop their strength and abilities. If earlier poetry dominated Chuvash creativity, now writers began to master prose as well, creating short stories, and then larger works. Great help in the formation of Chuvash literature was provided by Russian writers, especially A. M. Gorky, who was directly connected with the Chuvash writers.
Literature in the native language, closely connected with the practical life of the people, greatly contributed to raising the cultural level of the working masses and educating them in the spirit of internationalism. Among the prose works of recent years, novels from the everyday life of the Chuvash stand out noticeably: “The Village in the Willows” by K. Turkhan, “Near Akramov” by F. Uyar, “The Thirties” by S. Aslan, the novels “On the Buinsky Trakt” by A. Talvir, “Wild Winds » M. Ukhsay and others. Of the most popular poetry are the poems “Pass” and “Grandfather Kelbuk” by Y. Ukhsay, books of poems “Song of the Heart”, “Oak forests sing” and others by P. Khuzangaya and many poems by young poets.
The works of playwrights A. Kalgan "The Wave of October", A. Eskhel "Three Weddings", V. Alager, N. Terentyev and others are successfully staged in the theaters of the Chuvash ASSR. Among children's and youth books, the most popular are the works of L. Agakov, V. Davydov, N. Evstafiev.
The best works of Chuvash writers and poets have been translated into Russian and other languages of the peoples of the USSR; at the same time, many writers and translators acquaint the Chuvash with works of Russian and foreign literature.
Folklore:
- · Traditions
- · Legends
- · Fairy tales
- · Myths
- · Songs
- · Puzzles
In the Chuvash oral poetry, almost all genre types and forms are represented, with the exception, apparently, of epic works. Fairy-tale folklore is rich (yumakh, khalap), which is divided into three main groups: magical or heroic, everyday tales and tales about animals. Fairy tales are based on fiction, are distinguished by abundant imagination, their main ideological motive is the struggle against evil for truth, for the happiness of the people. In fairy tales about animals, the life of people and their relationships are displayed in allegorical form, and in everyday life, general human shortcomings and vices are ridiculed. Both of them have a common satirical and humorous orientation.
Chuvash proverbs (vattisen samakhesem) and sayings (kalarashsem), which make up another genre of oral poetic creativity, are predominantly instructive or educational in nature and, as a rule, consist of one or two logically completed sentences.
Song folklore (Yura) is extremely richly represented among the Chuvash. There were labor, ritual, wedding, funeral, recruiting, drinking, lyrical, as well as historical songs. Among the youth, love, gathering, round dance, game and comic songs and ballads were widespread. An important place in the song genre belongs to ditties (takmak).
Vocal music was mostly monophonic. Duet singing, as well as two-voice and polyphony, became widespread in the contact zones - under the influence of Russians, Mordovians, Ukrainians, etc. in Chuvashia. For example, such ceremonial complexes as vaia, uyav, nartukan, etc. exist quite steadily here. Among the archaic phenomena preserved in the folklore of the Ural Chuvash, one should also include pronounced pre-Christian (pagan) plot motifs that are often repeated in ritual songs (wedding, funeral, Christmas, etc.). Dances (tasha) are an integral part of folk art. The melodies of women's dances were moderate, men's - fast and lively. The movements of girls (women) in the dance are usually smooth, soft and very expressive. The male dance, in comparison with the female one, is in sharp contrast - it differs in boldness and enthusiasm, temperament and speed of movements.
The performance of most songs and dances among the Chuvash was accompanied by playing musical instruments. The traditional ones were the bagpipe-bubble (shapar), the gusli (kesle), the violin (serme kupas), the duda (shakhlich), the drum (parappan) and others. However, it should be borne in mind that the drum as a musical instrument was mainly used among the riding Chuvash. A variety of bagpipe-bubble was zurna - sarnay, which was usually made from the whole skin of animals - a goat or a foal - and was distinguished by the richness of its sound. From the second half of the 19th century, the Chuvash also became known to the Russian balalaika (tamra), accordion (hut kupas), and even later - the guitar, mandolin, button accordion and other musical instruments. It is noteworthy that the tradition of playing the bagpipe-bubble (shapar) among the Ural Chuvash lasted for quite a long time - until the 50-60s of the 20th century, while the rest of the instruments went out of existence early and were preserved mainly in the memoirs of watchmen. Currently, Chuvash folk instruments are used mainly by folklore groups and professional artists.
Chuvash in Bashkortostan
The current national social movement of the Chuvash of Bashkortostan began to take shape in the mid-80s. This was facilitated by the democratization of public life, the growth of national-cultural societies in the city. Soon, the Society acquired the functions of the republican center of the Chuvash diaspora - a body coordinating and directing efforts to meet the urgent national and cultural needs of the Chuvash population of the Republic of Belarus in the field of language, education, printing, art, etc. There are branches and departments of the Society in many cities and districts of the republic, in which the Chuvash live compactly.
Many facts testify to the national revival of the Chuvash diaspora in Bashkortostan. Thanks to the activities of the Society of Chuvash Culture and with the support of the Supreme Council of the Republic of Belarus, since 1989, the publication of a republican newspaper in the Chuvash language "Ural Sassi" ("Voice of the Urals") began in the city of Belebey. Newspapers in the Chuvash language are published by dubbing in the Aurgazinsky and Bizhbulyaksky districts. The republican literary association "Shuratal" ("Agidel") successfully operates in Bashkortostan. Now it unites about 50 people who are passionate about creativity. Their works are periodically published in the newspaper "Ural Sassi", newspapers and magazines of Chuvashia.
Since the 1994/1995 academic year, the formation of the Chuvash department at the philological faculty of the Sterlitamak State Pedagogical Institute began, which will train teachers of the Chuvash and Russian languages for the Chuvash schools of Bashkortostan. Pedagogical schools in Belebey and Sterlitamak are doing a great deal of work in training personnel for elementary schools and preschool institutions.
Since January 1993, the Chuvash folk (Sunday) school named after V.I. P.M. Mironov, and since 1996 - a Sunday school in the city of Sterlitamak.
In 1997, the network of educational institutions with in-depth study of the language, history and culture of the Chuvash people was replenished with a Chuvash gymnasium, which opened in the city of Belebey.
Since February 1993, the Union of Chuvash Youth of the Republic of Belarus began its activity. The Union sets as its task a comprehensive solution of issues of consolidation and socio-political education of young people, ensuring legal and social protection, organizing republican youth events.
The arrival in the republic in March 1994 of a government delegation of the Chuvash Republic can be considered an event of great importance, which is important for the national and cultural development of the Chuvash people of Bashkortostan. The result of this visit was the Treaty of Friendship and Cooperation, signed on March 24, 1994 by the presidents of the two fraternal republics M.G. Rakhimov and N.V. Fedorov. State care and understanding of the problems of the Chuvash diaspora are imbued with two government documents that were adopted in 1995 - this is the Decree of the President of the Republic of Belarus and the Decree of the Cabinet of Ministers of the Republic of Belarus on measures for the socio-cultural development of the village of Suuk-Chishmy, Karmaskaly region.
Chuvashs of Bashkortostan, their national-cultural associations and associations actively participate in cultural and socio-political events of Bashkortostan and the Chuvash Republic.
