Socio-economic changes in all spheres of society have led to a change in value orientations in education. The leading goal of education is not the amount of acquired knowledge and skills, but the harmonious versatile development of the personality, which makes it possible to realize the unique capabilities of a person, prepare the child for life, his psychological and social adaptation.

Only the mental development of children, their intellectual enrichment does not ensure the comprehensive development of the individual. To achieve harmony in the development of the child, no less attention must be paid to his moral and physical improvement, and the development of the emotional sphere of the personality cannot be ignored.

For centuries, art has been and remains one of the universal means of education, representing a holistic picture of the world in the unity of thought and feeling, in a system of emotional images. In the process of historical development, art also acts as the guardian of the moral experience of mankind.

With the development of the pedagogy of professional choreography, scientific literature raises questions related to the training and education of a professional dancer who is able to preserve and develop the best traditions of the national choreographic culture of peoples in every possible way. Russia.

In modern art history literature, two forms of existence of choreographic folklore traditions are known: in their own natural environment and in performing arts. Whoever solves the problems of preserving folklore traditions introduces us into the practice of several groups of groups that, in their creative activity, implement folk dance art and differ from each other, both in the way of its interpretation, and in some other parameters.

The first group includes collectives, conventionally called ethnographic, whose members perform authentic folklore of the geographical area where they themselves live.

The second group of collectives, let's call them conditionally folklore, reconstruct the folklore of any region by recreating living traditions or, if they are no longer functioning, on the basis of studying the available materials. The third and fourth groups of groups, which include amateur groups working in the field of folk stage choreography, build their creative activity on the principles of artistic processing, development and stylization of folklore.

Artistic development is a higher step in the transformation of folk art compared to processing. The main figurative core, the brightest plastic motif, the leading idea (in vocabulary, drawing, performance, imagery - in any of the components of the dance), which are developed, sometimes develop up to their transition to a new quality, is sorted out from the folklore sample. In fact, what is happening here is the development of a folklore work into individual elements, their rethinking, transformation and a new assembly of a stage work in accordance with the author's intention. All the structural elements of folklore dance are subjected to transformation: its musical and rhythmic formula, plot construction, imagery. Here, even more clearly than in processing, the mediation of folklore by the traditions of professional stage art is manifested.

A competent choreographer should know well the “genetic code” of heredity transmission, i.e. those musical and plastic motifs, rhythmic formulas, compositional techniques that are, as it were, the quintessence of the national in choreography and can become a living core, the basis of a new stage dance. Of course, for the complete success of this work, it is necessary to combine folklorist and director in one person. But since this is far from always the case in practice, the requirement becomes relevant” for the choreographer to know folklore well, and for the folklorist to know the specifics of the scene. Collecting, fixing, studying dance folklore is the most urgent task in our time, also because its wealth often leaves very quickly with its bearers, the elderly, and in this case also with mass emigration to Germany, and we must hurry, in order to have time to collect them as fully as possible.

The rather well-known expression "local material" is ambiguous. It includes both modern dances set on a local theme, and traditional dances of the given region, region, and numbers staged by a choreographer based on elements of dances existing in the area. Sometimes the first and third lines are combined, and a number on a local theme is born, told by the choreographer in the traditional, local choreographic dialect.

When we say “local theme”, we mean that the dance tells about those who lived or lives in the given area, for example, the dance is dedicated to the heroes of the war - the countrymen of the performers. There are examples when, before creating such a dance, its participants themselves studied the history of their feat.

It can also be a story about the workers of the region, for example, weavers or steel workers, about carpet weavers, lace makers, etc. This does not mean that the dance has necessarily a plot character. For example, lace makers and their beautiful products and drawings suggested to the choreographers more than one bright generalized image, embodied in poetic round dances. A lot of traditional dances have also been formed on the basis of the peculiarities of working life. This was reflected even in a number of names of dances, their individual figures, elements. These include, for example, the Lenok, Shevchik (shoemaker) dances, such varieties of French branles as the dance of bakers, laundresses, weavers, etc., shen or the well-known “shuttle” figure in Russian dance, repeating the rhythm and drawing of the movement of the shuttle in the weaving industry. The local flavor also depends on the nature of the reflection in the dance of the nature of a particular area, for example, the wide step of the inhabitants of the flat terrain, the light, cautious - mountainous, etc.

Staging on local material predisposes to originality, but at the same time has significant difficulties. The first of these difficulties is associated not only with the need to study the life of one's region, but also the ability to select in it that essential that constitutes its true peculiarity. And, in addition, to find features that are close to the nature of dance and can be figuratively expressed in the musical and plastic language of this art.

The process of creative creation of the new is joyful by the greatest search itself. Therefore, not only the result should be evaluated, but also the educational and cognitive influence on the team - the creative process, its usefulness. Although the possibility of failures is allowed, I would like to emphasize that even in this case, the assessment of the work cannot be unambiguous.

Let us dwell on the question of what it means to study local material. First of all, this refers to the knowledge of the choreography, folklore of the region by the members of the team. For residents of rural areas, the issue is more clear: their own village and neighboring villages. For citizens: study the folklore of their area. But before you start collecting folklore, you need serious preparation. Perhaps the most difficult thing is to be able to distinguish the genuine, valuable from random or superficial. This can be done only on the condition of general preparation and understanding of the ethnographic features of the region, its nature, history, characteristic features of life, culture, etc. .

A significant part of this work can be done in the library and museum of the region, some of it requires meetings with old-timers, communication with the bearers of culture themselves. In some areas, traditional folk festivals are still preserved, folklore holidays are held. It is important to see on them not only the dance itself, this or that choreographic motive or performing technique, but also everything related to the manner of behavior, gait, communication, style of the costume and the ability to wear it, etc. etc. A great success for the choreographer is the opportunity to directly plunge into the atmosphere of the life of such a holiday, to become its living participant, to join the dance performance. True, one can almost predict that a newcomer, even the best dancer, is likely to fail. But here, involuntarily destroying the round dance; or wattle, failing to merge into the general polyphony of the southern Karagod, you will truly understand the presence of something special, original, the need for its detailed study, penetration into its unique, logically conditioned inner rhythm Then, having appreciated, seen and felt the beauty) of truth , pristine, with the help of a local historian-ethnographer, you can start collecting the folklore of this region. It is difficult to overestimate in this work the importance of the help of like-minded people - members of the team (the role of such creative work in their upbringing will be discussed a little later).

The collection of folklore involves fixing the dances that have survived today in memory or exist. There are several ways to fix them: practical development, film photography and recording of choreographic text, as well as recording music and lyrics. The conditions of existence are fixed, the stories-characteristics of the dance by the performers, comments of a very different nature.

Creation of a folklore stage dance is not just a transfer of carefully learned movements and drawings to the stage - it is a process of recreating the atmosphere of the life of the dance, its breathing and that sacrament of communication between the performers, which is born in it, determining its value and necessity.

Therefore, watching one dance on the stage, we believe in its truth, it is a living organism for us, and, watching another, we perceive only its scheme, more or less interesting elements, more or less visually pleasing performers, and not a living whole - dance.

The next problem is the ways of stage interpretation of folklore dance. They, according to V.I. Ural a few.

The first is the experience of recreating an authentic sample on stage, which we discussed above. Let's say right away that the authenticity of the dance stage is, of course, lost, but we mean only the authenticity of the source of the sample. The dance bears these losses, even if the villagers themselves perform it on the stage, since the remoteness (stage, hall) and the artificial division into those who watch and create destroy the nature of co-creation, change the life process of this dance. There are also choreographic losses associated with a change in the viewing point. The temporal laws of folklore action and stage also come into conflict. An attempt to relate these contradictions leads to the need to intervene in the text of the dance.

And this is the next way - stage processing of folklore. What does it include? First of all, on the basis of the laws of stage composition, the refinement of dance patterns. So, for example, if the dance is all performed in a closed circle, slowly rotating in one direction, then in the conditions of the stage this will be perceived as tiring monotony and is subject to development, i.e. change. Subject to change is the endless (for stage conditions) repetition of figures in a quadrille (typical for performance in everyday life.

On the path of novice choreographers, first of all, there is the difficulty of learning the material, its comprehension, the emergence of one's own idea and its embodiment together with the performers. The most common mistake made by beginners is the desire to include as many drawings, or even movements as possible, in one dance. And if all of them are even very good in themselves, the dance will still turn out to be overloaded and “torn”.

The next step is styling. In this case, we mean the creation of a stage choreographic work of the author, but in the style of a folk primary source, using genuine movement and characteristic elements of the composition. This is the majority of dances in the repertoire of our professional and amateur groups. And here the knowledge of the original source is no less necessary than in the first two cases. Only it allows you to create a new work, fanned by the truth of the original, its original features and centuries-old traditions. It is these stage works that stand the test of time, become widespread and often return to the people where they are performed, often losing the authorship of the choreographer. Like many songs, Davydkovskaya (Yaroslavskaya) square dance by T. Ustinova, Birch by N. Nadezhdina and a number of other works found such a life in the choreographic culture of the Russian people.

Masters of folk choreography - T.D. Ustinova, I.A. Moiseev, N.S. Nadezhdina, M.S. Godenko, G.Ya. Vlasenko, N.I. Zaikin and many others collected, studied and processed Russian dance folklore, finding a new life not only within the framework of the stage, but also in the hearts of the audience. Having moved to the stage, the folklore dance not only could not look and be reproduced in its original form, but the quality level of its performance had to look somewhat different than before. In this regard, there was a need for the training and education of dance performers, as well as dance teachers in amateur and professional groups. Today, the academic discipline "Russian dance" is studied in many universities and secondary specialized educational institutions of culture and arts in our country. And its main task is to study the foundations and origins of Russian folk dance, its main movements, types and forms, as well as regional and regional features.

The theme of the Motherland in song, music, dance is manifested through the original features of the art of a particular people. That is why the study of national art instills a feeling of love for the motherland, a patriotic feeling. This is the special value of the work of T. Ustinova, glorifying her native land, speaking in a modern way with her contemporaries about the past and present art of her Motherland. The theme of the Motherland is endless and diverse in Ustinova’s work: “Flower, earth”, “Folk fun”, “Timonya”, “Moscow round dances”, “Kamarinskaya”, “Kursk bells”, “Round dances all over Russia” ...

The origin and rapid development of the folk stage dance culture was influenced by public balls, which have become an obligatory norm of social life, dance evenings and masquerades, which are regularly held in the halls of representatives of the nobility, public balls that gather people of other classes. Polonaise, minuet, gavotte give way to waltz, polka, mazurka and various types of country dance. One of the culminating points of the ball was the French quadrille, and the cotillion served as a kind of dance-game.

Before M.M. Fokine (1880-1942) the folk dance in the ballet was only an insert number. MM. Fokin creates a characteristic dance suite "Jota of Aragon" to the music of M.I. Glinka, that is, it unites a group of dances with one compositional idea. He puts on the plays "Scheherazade", "Stenka Razin", "Islamey", which are entirely based on a characteristic genre. The characteristic dance of M.M. Fokine was different from the dances of his predecessors. MM. Fokine wrote: “No form of dance should be accepted once and for all. To convey the Bacchic ecstasy of Greek dance, pointe shoes are unnatural. It is also unnatural to perform Spanish dances in a Greek tunic. The rhythmic tapping of the heel, the restrained voluptuous break of the entire line of the body, the serpentine movements of the hands in this case are natural.

At M.M. Fokine, folk stage dance becomes expressive, expands its plot possibilities. A true masterpiece was "Polovtsian Dances" from the opera by A.P. Borodin "Prince Igor". A.V. Shiryaev, talking about his characteristic class at the ballet school, noted that this class was useful not only for students, it served as a source of inspiration for choreographers as well.

In the 60s. In the 20th century, choreographic departments were opened at the institutes of culture. And here folk stage dance is given a significant place among other professional disciplines.

T.S. Tkachenko. She significantly expanded and systematized the exercises in the folk dance lesson, applied new names. Her lesson began with a system of exercises at the barre, where various muscle groups were sequentially warmed up, which prepared for the performance of dance combinations and dances in the middle of the hall. Exercises alternated with a relaxed foot and tense, sharp jerky - with soft, melting. All exercises at the machine were performed in order of increasing difficulty. After the exercise at the barre, the lesson continued in the middle of the hall.

In his classes, T.S. Tkachenko always sought to achieve the accuracy and clarity of each movement, improve the technical side of the dance, demanded from her students an understanding of the style and nature of each dance. She emphasized that the teacher should acquaint students with the history, life and national culture of the people, that without interest in folk art, students would not be able to correctly convey the characteristic features of the studied dance. An important point of T.S. Tkachenko considered the observance of the purity of the style of the dance being studied, therefore she always protected her students from mixing styles, from far-fetched movements that had nothing in common with this dance. T.S. Tkachenko always noted that dance is the soul of the people and the performer of folk dances needs their own attitude towards it, a vivid emotional expression.

This system of teaching folk stage dance is currently the most traditional. Many teachers work in this direction, bringing their own traits, individuality and vision of the final result to the specifics of teaching.

So, in 1966, a teaching aid on folk-characteristic dance by A.N. Blatova. In 1972, N. Stukolkina's book "Four Exercises" was published; and higher educational institutions of arts and culture "Folk Stage Dance". In 1983 and 1984 two parts of A.A. Borzov "Dances of the peoples of the USSR". In the future, quite a lot of manuals were published with a description of folk dances. These are books by such authors as G. Vlasenko, N. Zaikin, R. Karimova, A. Klimov, M. Murashko, N. Nadezhdina, N. Tarasova, T. Tkachenko, V. Uralskaya, T. Ustinova, and many others . The process of further improvement of the methods of teaching folk stage dance continues today.

After analyzing the development and formation of various schools in the historical period, we were convinced that each of them had its own method, and teaching was carried out in an authoritarian or humanistic direction.

Over time, many methods have changed, innovative ideas have been introduced. By exchanging experience, teachers borrowed individual elements from each other, using them in their own systems.

The concept of choreography (from the Greek. choreo - I dance) covers various types of dance art, where an artistic image is created with the help of conditional expressive movements. Choreography is an original type of creative activity, subject to the laws of development of the culture of society. Dance is an art, and any art should reflect life in a figurative and artistic form. The specificity of choreography lies in the fact that it conveys thoughts, feelings, experiences of a person without the help of speech, by means of movement and facial expressions. Dance is also a way of non-verbal self-expression by a dancer, which manifests itself in the form of body movements rhythmically organized in space and time. Dance has existed and exists in the cultural traditions of all human beings and societies. Over the long history of mankind, it has changed, reflecting cultural development. Currently, choreographic art covers both traditional folk and professional stage art. Dance art is present in varying degrees, forms in the culture of each ethnic group, ethnic group. And this phenomenon cannot be an accident, it is of an objective nature, because traditional folk choreography occupies a paramount place in the social life of society both in the early stages of human development, and now, when it performs one of the functions of culture, it is one of the peculiar institutions of people's socialization and, first of all, children, adolescents and youth, and also performs a number of other functions inherent in culture as a whole. Choreography was born at the dawn of mankind: even in primitive society there were dances depicting labor processes, reproducing the movements of animals, dances of a magical nature, warlike. In them, man turned to the forces of nature. Unable to explain them, he prayed, conjured, made sacrifices to them, asking for a successful hunt, rain, sun, the birth of a child or the death of an enemy. The people create in the dance an ideal image, to which they aspire and which they affirm in an emotional artistic form. New themes, new images, a different manner of performance appeared in the dances of the peoples of our country after the Great October Socialist Revolution. There are a lot of lyrical, heroic, comic, slow and smooth or whirlwind, fiery, collective and solo dances, in which the image of our contemporaries is clearly and convincingly revealed. In numerous folk dance ensembles, professional and amateur, we see dances dedicated to various topics and historical events in the life of the people. We encounter the professional art of dance in opera, musical comedy, on the stage, in the circus, cinema, ballet, on ice, and sometimes in drama. Any novice choreographer can get in touch with the specifics of all these types of choreography. Classical ballet is considered the most complex form of professional choreography. Ballet dance is based on folk dance, which at one time penetrated the salons of the highest nobility.

2. Choreographic culture of the Middle Ages and the Renaissance.

The Middle Ages were characterized by an acute sense of fear of death; the image of death, like the devil, is constantly found in medieval symbolism. It was in the Middle Ages that the image of death turns into a symbol of tremendous power. The "Dance of Death" spread especially widely in Europe in the 14th century, during the periods of the plague. In a social sense, this dance, like death itself, equalized representatives of different classes. During the years of the plague, the "dance of death" often developed into hysterical fun. Many stories have come down from the Middle Ages of a manic obsession with dance. During Christian holidays, the people suddenly began to sing and dance at the temples, interfering with the church service taking place in them. These crazy dances were observed in all countries. In Germany, they are called "Dance of St. Witta", and in Italy - "tarantella". Dance was not only a necessary means of relaxation, but also the main entertainment. The most popular was the karola, originally a procession dance. In the XII century. the cult of romantic love and chivalry to a large extent transformed the dance, muffling its frankly erotic features. Dancing was one of the usual activities for a knight and acted as a kind of domestic parallel to outdoor tournaments. Usually the dance was led by one couple, joined by others, slowly moving in a circle; the type of this dance was in many ways reminiscent of the polonaise. In the late Middle Ages, a difference appears between the court couple dance and the village group dance. The peasants danced with unrestrained spontaneity, the knights danced more strictly, following court etiquette. The folk dance was still improvised, while the court dance became more and more campy. The main form of palace art was the figure dance, where a group of dancers successively formed dance formations. Of great importance in the development of court dance was the emergence of professional dance teachers, who not only taught the nobility, but also acted as arbitrators in the field of etiquette and manners and usually had a great influence on the atmosphere at court. Dance in the Renaissance The development of theatrical dance during the Renaissance is associated mainly with Northern Italy, although a little later, when the dance spread throughout Europe, the French courts became the source of its exquisite stylization and baroque beauty. The rulers of the Italian city-states, such as the Medici, Sforza, Este and Gonzaga, paid more and more attention to magnificent spectacles. A set of dance techniques gradually developed with a number of mandatory rules. The lively rural dance did not suit the ladies of the court and gentlemen. Their clothes, like the halls or gardens in which they danced, the very structure of their thoughts absolutely did not allow for unorganized movement. To restore order and strengthen discipline, there were special dance masters for whom the dance was the embodiment of restraint and sophistication. There was nothing “popular” left in it now; the dance became more and more theatrical. Professional dance masters rehearsed individual pas and figures with the nobles in advance and directed the movements of groups of dancers, while other courtiers were spectators. Masquerades, momerias and carnival processions, favorite entertainments in the Middle Ages, especially spread during the Renaissance. In the 15th and 16th centuries such performances were held in noble houses and, as they became more complex, turned into costly festivities. Most of all, during the Renaissance, they were fond of masquerades, i.e. dancing in masks, and masks were of particular importance in this era. People who wished to remain incognito traveled in masks; representatives of the warring noble families hid their faces under masks. Carnivals also made a great contribution to dance as a public entertainment. The most common court dance of the era was the bass dance - "low dance", in the Renaissance it was called the king of dances. It was a smooth, non-jumping dance at a calm pace. One of its forms, the pavane, became a favorite dance of the 16th-17th centuries. The pavane corresponded to the etiquette behavior of the gentlemen and the rich, heavy attire of the ladies; its severely solemn warehouse was well suited to the opening ceremony of a court ball. Another popular court dance for a long time was the morisco. The dance, performed alone and in groups, arose from romantic memories of the times of the rule of the Moors. The original form of the dance calls for two rows of six dancers each, with some of them supposed to blacken their faces. Usually the dancers put on masquerade costumes, tied bells to their feet and waved handkerchiefs. It was a male dance, consisting not so much of movements with the whole body, but of swinging arms and legs. Morisco has retained its popularity among the common people and is still sometimes performed in Spain and the British Isles (English morris dance). In England at that time, the fashion for French dances dominated. In general, the love of dancing is a characteristic feature of the Elizabethan era. In the theater, after a comedy or tragedy, a dance (jiga) or a comic dance scene was always performed. In contrast to the mask, an anti-mask appeared - a grotesque or comic performance performed after the main mask. Dance masters taught their pupils for many weeks, as the mask assumed the ability to clearly and energetically perform dance movements.

3. Choreographic culture of France in the 17th century.

The main leading artistic and stylistic trends in the art of the 17th century were classicism and baroque, which developed in parallel, mutually enriching and complementing each other. Both directions served a common goal - the exaltation of the "divine" power of the king, the absolute monarchy. In 1661, the Royal Academy of Dance was created, which was of great importance for the development of everyday and stage choreography. Her appearance was completely natural, necessary and natural. Choreography, both everyday and stage, required a certain canonization, orderliness, and completeness. And it is no coincidence that it was in the 17th century that the five positions of the legs of classical dance appeared, canonized by Louis Beauchamp, president of the Academy of Dance. The positions of the hands also take on a finished form, the positions of the hands are developed. A typical example is the minuet. This is the most popular dance of the 17th century. Like many other folk dances, the minuet originated from the folk French branle. His homeland is Brittany, the province of Poitou. Among the people, the minuet was performed cheerfully, provocatively, naturally and directly, often to the singing of the dancers. Pierre Beauchamp played a huge role in the birth of ballet. He invented and thought out various plastic movements and poses, he was the first to write down and characterize them, thus creating the terminology of ballet. Pierre Beauchamp was the very first to formulate and define the basic dance rules, based on turnout and using fencing poses as an example.

He divided all dance movements into groups: squats (plié), jumps (skirts, entrecha, cabrioles, jeté, the ability to hang in a jump - elevation), rotations (pirouettes, fouettes), body positions (attitudes, arabesques). Beauchamp divided dances into three main types: serious, semi-character and comic. He also owns the first developments on dance records, which he created together with the dancer Raoul-Auger Feuillet (c. 1660-1710). Later, another outstanding French choreographer, Pierre Rameau (1674-1748), developed these works and determined the main positions of classical ballet, which are still the basis of the entire world ballet. But there is also an opinion that the main five positions of classical ballet were established not by Rameau, but by Pierre Beauchamp; and Rameau perfected them. In his operas, called "tragédie mise en musique" (lit. "tragedy set to music", "tragedy on music"; in Russian musicology, the less precise, but more euphonious term "lyrical tragedy" is often used), Lully sought to strengthen music, dramatic effects and give fidelity to the recitation, dramatic meaning - to the choir. Thanks to the brilliance of the production, the showiness of the ballet, the merits of the libretto and the music itself, Lully's operas enjoyed great fame in France and Europe and lasted on the stage for about 100 years, influencing the further development of the genre. Under Lully, opera singers began to perform for the first time without masks, women danced in ballet on a public stage; for the first time in history, trumpets and oboes were introduced into the orchestra, and the overture, unlike the Italian one (allegro, adagio, allegro), received the form grave, allegro, grave. In addition to lyrical tragedies, Lully wrote a large number of ballets (ballets de cour), symphonies, trios, arias for violin, divertissements, overtures and motets. In Paris, Molière's troupe made its debut on October 24, 1658 at the Louvre Palace in the presence of Louis XIV. The lost farce "The Doctor in Love" was a huge success and decided the fate of the troupe: the king gave her the Petit Bourbon court theater, in which she played until 1661, until she moved to the Palais Royal theater, where she already remained until the death of Molière. From the moment Moliere settled in Paris, a period of his feverish dramatic work began, the intensity of which did not weaken until his death. During those 15 years from 1658 to 1673, Moliere created all his best plays, which, with few exceptions, provoked fierce attacks from social groups hostile to him (classicism, boroque). The victory of French absolutism and the flourishing of the artistic culture of France in the 17th century. Opera-ballets. Composer J. B. Lully (1632 - 1687). Choreographer P. Beauchamp (1636 - 1705). Relationship between household and professional culture. Opening of the Royal Academy of Dance (1661). Comedy-ballets by J. B. Molière: "Monsieur de Pursonyac" (1666), "The tradesman in the nobility" (1670), "The Boring" (1661), Royal Academy of Music (1669). P. Beauchamp's ballet "The Triumph of Love" (168).

Creation of French stage ballet, new stage genres - opera ballets, comedy ballets, tragedy ballets, drama ballets, melodramatic ballets, pastorals, ballet performances. Evolution of performance technique.

4) Enlightenment choreographers .John Rich (1691 - 1761) - English actor of the theater of pantomime. He boldly introduced dance scenes into his performances, connected the dances with the plot of the pantomime action and, most importantly, chose the music so that it corresponded to the events in the performance. Numerous acrobatic stunts, "miracles" invented by him, delighted the audience and the performers themselves. Performers, Italian and French actors, moving from theater to theater, spread the innovations of John Rich's pantomime performances. Two of his performances became the most popular: the fantastic staging of Ovid's Metamorphoses and the pantomime with tricks and magical transformations The Magician, or Harlequin Dr. Faust. Between the acts of pantomime, Rich inserted independent dance comic skits of Pierrot and Colombina. They had their own content, bright and well-chosen music, which brought John Rich's performances closer to musical theater.

Austrian choreographer - Frans Hilferding (1710-1768) put forward his creative program. The main thing is to turn ballet into an independent theatrical genre, the main focus of the dramaturgy of a ballet performance and, finally, bringing ballet closer to the truth of life. How did he achieve this? First of all, under the influence of the enlighteners, the choreographer began to create ballets based on the plots of plays by famous playwrights. There were performances of "Idomeneo" based on the play by Crebillon, "Alzira" based on the play by Voltaire, a ballet based on the plot of Racine's tragedy "Britanic". At the same time, Hilferding staged comedy ballets, modern genre and everyday ones. In them, he used the techniques and findings of comic opera and drama theater, so the characters in his ballets were often peasants, soldiers, millers, foresters, etc. They performed their dances, for which the choreographer widely introduced folk plastic. All this greatly enriched the ballet performances, gave them new features, became a new word in the choreographic art - the dance became effective. Hilferding left the court stylized conditional costume, but removed the masks. He raised acting performing art to new heights, made dancers and dancers more free to stay on stage and thus opened up the prospects for creating real human characters.

Gasparo Angiolini (1731 - 1803), Italian by birth, - the best student and follower of Franz Hilferding. Italy, Austria, Russia - the countries where he worked and improved his choreographic art. Choreographer, librettist, musician, Angiolini sought to turn ballet into a musical drama. In his work, based on the creative concept of the composer Gluck, he put forward three requirements as his aesthetic program: simplicity, naturalness, truth. Angiolini believed that music is the basis of a ballet performance, its poetic soul, and musical dramaturgy is the basis of stage action. Angiolini saw the conciseness of the ballet performance in the fact that, without being distracted by the development of secondary themes and episodes, to lead the main storyline strictly and consistently. He divided the dance into grotesque, comic, semi-character and serious. Angiolini's aesthetic program was reflected in his ballets, the best of which were Don Giovanni and Semiramide.

5) Jean Georges Noverre and his letters.NOVERRE, JEAN GEORGES(Noverre, Jean-George) (1727-1810), French artist, choreographer, ballet theorist. Born in Paris on April 29, 1727. A student of Louis Dupre, Noverre made his debut as a dancer in 1743 and worked in various theaters in France, in 1755–1757 in London. Already in these years, Noverre came to the idea of ​​creating a dance performance independent of the opera (of which the ballet had previously been a part). He advocated introducing ballet to a serious subject, creating a performance with developing action and effective characteristics. The main expressive means of Noverre's ballets was pantomime (sometimes danced), more rarely - a developed dance, which in his eyes personified the empty divertissement that dominated the ballet scenes of the previous era. Noverre expressed his ideas for the first time in his work Letters on dance and ballets, published in 1760 in Lyon and Stuttgart. (Later this work was published in 4 volumes in St. Petersburg in 1803-1804.)

Noverre staged over 80 ballets and a large number of dances in operas. Many of his ballets had premieres in Stuttgart (since 1762), where the composer J.-J. Rodolphe wrote music, and in Vienna (in 1767–1776), where the composers K.V. Gluck, J. Starzer (Starzer) were his collaborators , F. Aspelmeier. In 1776-1781 Noverre led the ballet troupe of the Paris Opera (then the Royal Academy of Music), but met with resistance from the conservative troupe and the regulars of the theater; in the 1780s and 1790s he worked mainly in London.

Noverre's most significant productions are Medea and Jason(music by Rodolphe, 1763), Adele de Pontier(music by Starzer, 1773), Apelles and Campaspe(music by Aspelmeier, 1774), Horatii and Curiatii(based on the play by P. Corneille, music by Starzer, 1775), Iphigenia in Aulis(music by E. Miller, 1793). Most of these performances told about dramatic events and strong passions. Following Voltaire and Diderot, Noverre carried out the idea of ​​obedience to duty on the ballet stage. In some productions, there is also a noticeable attraction to the ideas of the human right to a natural feeling and closeness to nature proclaimed by J.-J. Rousseau ( Belton and Eliza, composer unknown, first half of the 1770s).

In the last years of his life, Noverre was mainly engaged in intellectual work, but the artist's followers staged his ballets throughout Europe (including Russia).

The reforms of Noverre as the creator of effective ballet (ballet d "action) had a decisive influence on the entire further development of world ballet, and some of his ideas have not lost their significance even today: the main ones are the requirement for the interaction of all components of a ballet performance, the logical development of action and characteristics Noverre is called the "father of modern ballet." "Letters on dance and ballets" .1. Letter one: Discourse on pantomime and gesture: on the technique of modern dances in comparison with the ancient. About gesture: "so useful for life, useless for theater ". 2. Letter two: Two types of dance: mechanical (technical) and pantomimic (effective). What should a mime dancer have? Technique or action, or both. Few can do this. Can technology be combined in one person and emotions? About talent. 3. Letter three: About the qualities necessary for a choreographer. A choreographer is a vocation, not a craft. Who can become a ballerina: a dancer must know music, pace, know to draw and plan movements, to know the "combination" of arms and legs. 4. Fourth letter: The choreographer creates, not copies. The choreographer must read a lot, learn history. The choreographer must have three notebooks: 1. historical plots 2. mythological plots 3. literary and poetic plots Communication with artists. Think over the plot, discard the superfluous. According to Nover, it is not necessary to replace the expressiveness of a gesture with a technique that does not say anything. In a ballet work there should be no more than 3 acts and 4 characters. The choreographer must perform, explain and influence. 5. Fifth letter: The choreographer must study history, mythology, ancient poetry and science. Knowledge in geometry. The choreographer is a "well-oiled machine". Technical knowledge is required. Know painting, anatomy. The choreographer must see in the dancer (student) his abilities, his genre. Must be good at listening to music. The choreographer must have extensive knowledge. 6. Sixth letter: The course of the choreographer's teachings. The choreographer must be observant. For example: observing artisans and various aspects of life. Tragedy and comedy can be shifted to dance. Everything that is presented for painting is also suitable for dancing. In dance, one can express not only the beautiful, but also the vile. The difficulty is to beautify nature without distorting it. A choreographer who does not know dance perfectly is capable of composing only mediocre works. Nover understood by dance only "serious content". Paints should play on the stage, be in the right proportions. Paints and costumes should be sharply highlighted. The height of the actors (comparison with painting) must be sustained, "the scenery must serve as a means of shading the Ballet" 7. Seventh letter: On the choice of plot Plots from history can provide the richest images and the greatest means of expression. But variety should be the choreographer's motto. Not only tragedy! 8. Eighth letter: On the composition of ballets. The choreographer is a sequence of pictures connected with each other by the action that makes up the plot of the ballet.

Nover understood by dance only "serious content". Paints should play on the stage, be in the right proportions. Paints and costumes should be sharply highlighted. The height of the actors must be maintained (comparison with painting), "the scenery must serve as a means of shading the Ballet" 7. Seventh letter: On the choice of plot Plots from history can provide the richest images and the greatest means of expression. But variety should be the choreographer's motto. Not only tragedy! 8. Eighth letter: On the composition of ballets "The choreographer is a sequence of paintings connected with each other by the action that makes up the plot of the ballet." The stage is “the canvas on which the writer transforms his idea. Music, scenery, costumes are colors. And the writer himself is a painter "

J. J. Noverre (1727 - 1810) - the great ballet reformer. The origins and essence of the reforms J. J. Nover. Creative activity JJ Noverre in Stuttgart, Vienna, Paris, London. Ballet "Chinese festivities" (1754). Approval of the plot-effective ballet "Medea and Jason" (1763), "Don Quixote" (1768), "Horaces and Curiatia" based on the tragedy of P. Corneille (1775). The theoretical heritage of Noverre "Letters on dance and ballets" (1760). J. J. Noverre about the connection between the art of choreography and reality, about dance, pantomime, effective dance, about composing ballets, about the work of a choreographer with a composer and artist. The Meaning of the "Letters on the Dance" J. J. Noverre.

The article deals with the problems of preserving and developing the traditions of the national choreographic culture. In modern conditions, the danger of losing the richest heritage of folk art, the traditions of Russian folklore in all its genre diversity, in its historical dynamics, is increasingly realized. In the first place is the threat - how to preserve their identity for many national cultures, and not dissolve in the environment of others. It is proposed to consider the possibilities of preserving and developing Russian folk choreography as an integral part of Russian culture.

Key words: dance traditions, folklore, genre, regional features, form.

Dance - one of the most ancient types of folk art. It reflects the social and aesthetic ideals of the people, its history, labor activity, way of life, mores, customs, character. Each nation keeps its dance treasures, passing them from generation to generation, accumulating and honing the harmony of their constituent expressive means.

The art of dance, skill and originality were honed and polished, because in the dance the people could express pain and joy, respect and fearlessness. Dance has evolved along with man. Man has evolved along with dance. Being part of the ritual, customs, traditional holidays and festivities, folk dance has been and remains an organic part of these events. Dance allows you to create a unique atmosphere, the rhythm of communication and itself acts as a language of communication. This nature of the dance, laid down at its inception, receiving diverse forms, remains unchanged. The beauty of folk dance has been known for a long time. Over time, the art of dance developed, the variety of forms and styles was isolated into separate types. Such as: classical dance, historical and everyday, pop, ballroom, modern. Among all this diversity, folk dance has been and remains one of the main types of choreographic art.

Folk dance - folklore dance, which is performed in its natural environment and has certain movements, rhythms, costumes, and the like, traditional for the area.

folklore dance - this is a spontaneous manifestation of feelings, moods, emotions, performed primarily for oneself, and then - for the viewer (society, group, society).

Nowadays, there is a problem of a fundamental nature associated with the development of folklore, Russian folk dance. Folklore is the most valuable cultural heritage of peoples, which must be mastered, loved, protected. We are concerned about the fate of Russian folk dance, as well as folk culture in general. Leading figures of Russian choreographic art have always been aware of the importance of preserving and developing Russian folk dance, in its traditions, in historical dynamics. The most important task of folklorists, choreographers, and art historians working in this field is to preserve the richness of the traditions of dance culture, to carefully convey dance folklore in modern conditions.

With the development of the pedagogy of professional choreography, scientific literature raises questions related to the training and education of a professional dancer who is able to preserve and develop the best traditions of the national choreographic culture of the peoples of Russia in every possible way. Revealing the possibilities of creating a targeted system for mastering the main features of Russian dance, I emphasize that an integral part of Russian dance culture is that which carries wealth, natural properties, stylistic features associated with cultural tradition. The images of Russian choreography are a performing standard, in which it is necessary to “fit in”.

Folk stage dance at the present stage, it can be defined as an artistic and educational system formed in the process of formation and development of artistic and pedagogical practice in the professional and amateur spheres of choreographic activity. More than one generation of teachers, choreographers, performers, critics, methodologists and theorists in one way or another participated in the formation of the school of folk stage dance, which is based on the division of expressive means into elements, the selection and systematization of movements, the definition of aesthetic and ethical standards, the development of conceptual apparatus, content, etc.

One of the important issues at the present stage is the training of specialists capable of adequately preserving and developing folk stage choreography.

The research problem arises from the contradiction between the requirements of modern society for the preservation and development of the pedagogical traditions of choreographic education. The problem of tradition in education was first expertly posed by the great Russian teacher KD Ushinsky.

High-quality training of specialists capable of solving this problem in the future can be achieved provided that the organization and implementation of the process of teaching folk stage dance will be based on a number of principles.

The principle of science;

The principle of consistency;

The principle of succession;

axiological principle;

activation principle.

Choreographic education, by virtue of its specificity, seeks to cover as fully as possible the horizons of the individual development of each aspiring ballet dancer in accordance with the ideas of the era, in connection with which choreographic education in Russia becomes an indicative reflection of both the priority of pedagogical thought and the cultural and historical realities of each period of its formation. It can be argued that there is a special cultural and historical phenomenon - the national school of choreographic education. This phenomenon is not only closely interconnected with the culture of the nation, but also raises it to new heights, determines the existence of both one of the areas of high art - classical dance, and makes strict requirements for the pedagogical conditions of its existence, develops pedagogical science and practice. Forming the personality of the future artist - ballet, choreographer or teacher, the school as a choreographic system forms his consciousness, professional and personal qualities.

The problem of preserving the traditions of dance folklore and its organic inclusion in modern choreographic culture is occupied by the departments of folklore created at the centers of folk art, publishing monographs, methodological recommendations based on studies of national choreographic creativity.

Higher educational institutions of many countries of the world are involved in solving the problem of publishing scientific and research literature in this area. Every day a new number of publications appear, including Ph.D. dissertations devoted to the study of the origins of the dance culture of peoples, the identification of its stable forms and trends characteristic of the current stage of development of folk choreography.

In modern socio-economic conditions, the creation of a universal reference book, which aims not only to include the maximum number of publications containing information about the dance culture of the peoples of Russia, but also to make it convenient for a specialist, faces a number of problems that should be mentioned:

• information about the release of a particular publication does not go in the centralized way that it used to;
• the widespread introduction of the native language in the territories creates difficulties in using this literature in other regions without translation;
• The results of technological progress affect all spheres of our life. Shooting a choreographic work on videotape is the most modern form of fixing it than a descriptive-graphic method. But if this is not an educational film, then a huge layer of information remains “behind the scenes”.

The solution to these and other problems can be the creation of a single international database.

The problem of teaching traditional folk choreography.

Today it is an important topic of discussion not only among teachers of higher and secondary educational institutions, but also among cultural workers. This is due, first of all, to the need to direct the efforts of society towards the preservation of the cultural and educational environment and folk traditions, which are a necessary condition for the formation of a full-fledged spiritual life of a modern person. The solution of this problem will help not only create conditions for more effective training of future specialists, but also ensure the continuity of generations, which acts as a factor in the formation of national identity, social development of the individual and the spiritual progress of the people. But in this case, state support is needed, expressed in reasonable planning in the field of education. It is necessary that educational institutions that train personnel for cultural and art institutions not only comprehensively implement classes in the study of Russian dance, regional features of the Russian costume, holidays and rituals of the Russian people, but also allocate a sufficient number of study hours for the study of these disciplines. .

A competent choreographer should know well the “genetic code” of heredity transmission, i.e. those musical and plastic motifs, rhythmic formulas, compositional techniques that are, as it were, the quintessence of the national in choreography and can become a living core, the basis of a new stage dance. Of course, for the complete success of this work, it is necessary to combine folklorist and director in one person. But since this is far from always the case in practice, the requirement “for a choreographer to know folklore well, and for a folklorist to know the specifics of the scene, becomes relevant.

The next problem is the ways of stage interpretation of folklore dance. They, according to V.I. Ural a few.

The first is the experience of recreating an authentic model on stage. I will say right away that the authenticity on the dance stage is, of course, lost, but I mean only the authenticity of the source of the sample. The dance bears these losses, even if the villagers themselves perform it on the stage, since the remoteness (stage, hall) and the artificial division into those who watch and create destroy the nature of co-creation, change the life process of this dance. There are also choreographic losses associated with a change in the viewing point. The temporal laws of folklore action and stage also come into conflict. An attempt to relate these contradictions leads to the need to intervene in the text of the dance. And this is the next way - stage processing of folklore. What does it include? First of all, on the basis of the laws of stage composition, the refinement of dance patterns. So, for example, if the whole dance is performed in a closed circle, slowly rotating in one direction, then in the conditions of the stage it will be perceived as tedious monotony and is subject to development, i.e. change. Subject to change is the endless (for stage conditions) repetition of figures in a quadrille (characteristic of performance in everyday life.

The modern scene requires from Russian dance the novelty of stage forms, expressive means, topical themes and aesthetic orientation. But they cannot arise from choreographers without deep knowledge of the nature of Russian dance, its folklore sources. New living conditions, aesthetic norms influenced the content of the dance and the relationship of its individual forms. Significant changes have taken place in women's dance, which previously did not have a rich and varied lexical material. At present, a huge number of movements of the arms, legs, body, etc. adorns Russian folk dance. Leg movements have undergone the most dramatic changes. The nature of the dances became more cheerful.

Today, professional and amateur choreographers compose dance compositions to the tunes of modern songs. In the songs of our days, the national melody, the originality of musical turns, has been preserved. It organically merges with new themes, gets a new rhythmic organization. The melodies of modern songs are widespread; they are companions of domestic and public holidays. There are immeasurably more songs created today than dances. Their quality is much higher. How can one explain that many dances created to certain melodies quickly die without being widely adopted. Their choreographic drawings are not utilized in the future and do not receive a lexical stock. It seems that one of the reasons is the mechanical adaptation of the dance scheme to a particular melody. In this case, the rhythmic structure of the dances coincides with the rhythm of the songs, and the once-organic union of plastique and music turns out to be one-sided. Another trend is also emerging. The melodies of modern songs are illustrated by a modernized, “modernized” Russian dance. Silver boots, brightly colored mini-skirts, bizarre headdresses, which do not meet the aesthetic requirements of Russian dance creativity, look ridiculous from the stage. Choreographers, writing modern vocabulary, often forget about the national character of the movements, violate what makes the dance beautiful, and the performers themselves - graceful and attractive. A lot depends on the music of modern dance, on the instrumental processing of folklore material. In our opinion, at present, choreographers who create their new works are dependent on this music, and it is far from always suitable for composing a choreographic work. Comparing the themes of modern songs and dances, preference should be given to songs. In them, thematic genre boundaries are very wide. The themes of love, meeting, parting, parting acquire a new sound, a new meaning. They capture the image of a person with his feelings, experiences. The dance closed itself in a circle of limited plots, especially if we talk about lyrics. But she, like lyrical songs, most of all attracts spectators and performers. Creating original lyrical dance pieces is a more difficult task than creating tempo dance pieces, where fantasy comes to the aid of the choreographer. That is why it is necessary to turn to folk sources, to find in them the most striking national features that determine the character of a particular people, as well as the distinctive features of dances that exist in various regions, territories, and regions of Russia. A. Permyakova, artistic director of the Russian folk choir. Pyatnitsky notes: “If modern choreographers working in the field of Russian folk dance do not start, like the luminaries of the past, to thoroughly study the dance folklore of different regions of Russia, but continue to cook some kind of vinaigrette, and even “peppering”, “salting” it with tricks, we we're just going nowhere."

It should be noted that to this day there are still unfortunate phenomena of excessive stylization of folk dance, one might say, when all that remains of it is an outwardly spectacular, elegant, virtuoso-technical composition, only by external signs called folk dance. According to M.S. Godenko, Russian folk dances should include a modern trend - rhythms and movements. He created a certain genre of modern Russian dance. Many specialists in the field of choreography do not share his concept, they assure that traditional folklore is not preserved in this way. However, most of our choreographers try to create their dance compositions based on authentic folk dances and take care of the stylistic interpretation of the material. The team of the ensemble "Birch" does not pursue the goal of transferring folklore to the stage in its purest form. This is a real academic choreographic ensemble and, nevertheless, how captivatingly beautiful is the image of a Russian girl in all his dances. Composed by I.A. Moiseev, the dance becomes a complete choreographic miniature. Postanovshchikh refers to a variety of folk traditions. The feeling of authenticity and authenticity of the "Moscow Region Lyrics" was achieved not only by borrowing movements from folklore. Here, the internal laws of folk choreography were organically observed and embodied: immediacy, liveliness of communication between partners, simplicity and clarity of rebuilding. Each movement has its own, sometimes mocking, sometimes lyrical subtext, its own intonation.

It should be remembered that a return to the past, to the traditions of the Russian people and its culture does not mean its copying, mechanical repetition, literal use. The past is rethought, included in the context of modernity, taking into account the new parameters of the cultural context, including its artistic and technological innovations. Old and new dances not only get along side by side, but also mutually influence each other, creatively enriching and developing Russian folk dance. New time gives birth to new tastes, trends, rhythms and passions. Whatever happens in life, each generation must know its roots and remember its native origins, otherwise spirituality and patriotism will disappear. It is important to protect and preserve the richest heritage of Russian folk dance. Therefore, the role of choreographers-teachers is so responsible, who can preserve, preserve traditional shades in the manner of performance, evaluate them and give new life to folk choreography.

Bibliography

1. Ballet: encyclopedia / editor-in-chief. Yu.N. Grigorovich. - M.: Sov. encyclopedia., 1982. – 623 p.

2. Vanslov V.V. Comprehensive development of personality and types of art / V.V. Vanslov. - M.: Art, 1963.

3. Permyakova A.B. Based on the heritage, look for something new // "Ballet", literary-critical historical-theoretical illustrated magazine. M.: Red. magazine "Ballet". - 2010. - №3, p.24.

4. Uralskaya V.I. Nature of dance / V.I. Ural. - M.: Council. Russia, 1981. 24 p.

Project "The role of choreography in the knowledge of folk culture"

Publication date: 18.01.2016

Short description:

material preview

MUNICIPAL BUDGET GENERAL EDUCATIONAL INSTITUTION OF THE CITY OF IRKUTSK

SECONDARY EDUCATIONAL SCHOOL №71

664005- Irkutsk, st. Mayakovsky, 14

Pedagogical project "The role of choreography in the knowledge of folk culture"

Completed by: Stelmakh Irina Gennadievna,

Teacher of additional education

Scientific adviser:

Glazkova Tatyana Vladimirovna

candidate of pedagogical sciences

Irkutsk 2015

Introduction………………………………………………………………3

Project passport………………………………………………………4

Justification of the need for the project……………………………….6

1. Project hypothesis……………………………………………………..6

   Goals and objectives of the project………………………………………………..6

   Project participants…………………………………………………………7

Project description: …………………………………………………. 8

1. Strategy and mechanisms for achieving the set goals………..10

   Work plan for project implementation…………………………………...11

4.3. Projected short-term and long-term results of the project implementation………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………….

Evaluation of the success of the implementation project………………………….13

1. Indicators and criteria for the success of the project…………13

   Risk assessment…………………………………………………………..14

   Further development of the project………………………………………...14

References…………………………………………………………………16

Appendix 1…………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………

Appendix 2………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………

Appendix 3………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………

Annex 4…………………………………………………………………………36

Appendix 5…………………………………………………………………………48

Appendix 6……………………………………………………………………………………53

Appendix 7……………………………………………………………………………64

INTRODUCTION

Everything in our life is changing so rapidly that it is impossible to predict what the coming century will bring us, what other trials and problems await us ahead, what humanity will translate into reality, and what will be left behind a new turn of the wheel of history. And there are still such things in the world that the hand of progress has not touched, this is the most beautiful, what has been created for centuries, what has been sacredly kept by our ancestors and protected so that future generations can appreciate, pay tribute and multiply by adding something new - this is our culture. After all, culture is not only beautiful works of art, it is the spiritual life of society as a whole, the achievements of science and art, the way of behavior learned in the process of learning and perception, the spiritual world of the individual, the level of development of something, the totality of traditions of transmitted norms of activity and behavior. Indeed, traditions, customs, ceremonies, rituals play an important role in our life and directly in our development. On the other hand, these words can evoke ideas about the power of the past, striving to subjugate the new, the young, to delay the course of the development of life. This is how we sometimes imagine the meaning of these ancient and wise words, sometimes forgetting that customs and traditions always consolidate what has been achieved in public and private life, it is they who stabilize social relations, consolidating what was achieved over the centuries by generations of our ancestors. In the process education ensures the continuity of generations, which is a condition for continuous development. The manifestation of continuity is diverse and multifaceted. It can manifest itself in personal terms, in terms of family and social traditions, which contribute to the preservation of the general stable stereotyped behavior, the similarity of the way of thinking and certain inherent character traits. All this contributes to the formation of the so-called childhood memory, since the foundations of a person's personality are laid at preschool and school age. In the moral education of children, the people widely use traditional public and family holidays, holiday customs, ceremonies, and rituals. Public holidays, as a special way of mass and public satisfaction of the material and spiritual needs of people, having a humanistic orientation, contribute to the formation of personality. Introducing children to folk culture is a means of forming their patriotic feelings and developing spirituality. The upbringing of a citizen and a patriot who loves his Motherland is a particularly urgent task today. The heritage of each nation contains valuable ideas and experience of education. Russia is a homeland for many, but in order to be considered its son or daughter, you need to feel the life of your people and creatively assert yourself in it, accept the Russian language, history and culture of the country as your own. Native culture, like father and mother, should become an integral part of the child's soul, the beginning that generates the personality.

Project passport

Project implementation site

Stelmakh Irina Gennadievna

Project Hypothesis

Including in the educational process the means of folk pedagogy (according to Russian folklore, traditions, fairy tales, etc.), which will contribute to the comprehensive development of school-age children, enrich their inner world and give knowledge in the field of folk art

Goals and objectives of the project

To expand ideas about the culture of the Russian people, about the traditions of Russian choreography.

To give an idea about the arrangement of the house, the history of folk costume, folk craft, fairy tales, folklore, Russian national cuisine.

Project participants

Participants of the studio of modern choreography "Triumph" MBOU Irkutsk SOSCH №71.

Strategy and mechanisms for achieving the set goals (project stages, main work in the project)

Involve children to participate in city holidays so that they have the opportunity to plunge into the atmosphere of general joy and fun (Maslenitsa, Christmas, Easter, etc.) Develop and conduct a pedagogical event "Festival of felt boots", on the basis of the school with the participation of children from different groups.

Take part in the development and holding of the school holiday "Seeing Shrovetide", Stage a choreographic number "Grandfather's Artel".

Collect material about signs, customs and Russian rituals.

Take part in the city competition "Ring, Ring Golden Russia".

Take part in regional and international choreographic competitions, master classes

Projected short-term and long-term results of the project implementation

Medium-term (long-term) project, from 2 to 10 months or more.

Indicators and criteria for the success of the project

Conducting open classes to master the elements of Russian choreography and participation in thematic master classes.

Diagnosis of assimilation of acquired knowledge on the topic of the project.

Improving the quality of the technical performance of Russian numbers.

Participation in thematic, interregional and all-Russian competitions in folk dance.

Further development of the project

The topic of studying Russian traditions is multifaceted, it requires further study, their implementation in numbers requires painstaking work. Over time, the number of members of the team increases, the number of spectators who come to concerts and, of course, become directly participants in this project increases. New costumes are being developed and produced for the numbers. The project becomes long-term. We present our works not only at concert venues, but also are active participants in various master classes and projects, for which we receive memorable prizes and diplomas.

Practical significance of the project

Only by managing to arouse interest in the family tree, in the values, customs and holidays characteristic of the family in which the child is brought up, can one begin to work on the formation of a traditional family culture in the process of interaction between parents and teachers

3. Justification of the need for the project

3.1 Design hypothesis

Introduction to the traditions of the people is especially significant in childhood. The child, according to D.S. Likhacheva is a future full member of the society, he will have to master, preserve, develop and pass on the cultural heritage of the ethnic group through inclusion in culture and social activity. The urgency of this problem determined the choice of the topic “The role of choreography in the knowledge of folk culture”.

Including in the educational process the means of folk pedagogy (on Russian folklore, traditions, fairy tales, etc.), we will contribute to the comprehensive development of school-age children, enrich their inner world and help them gain knowledge in the field of folk art.

3.2 Goals and objectives of the project

Spiritual and physical development, revealing the individual capabilities of the child's personality with the help of dance art through the study of folk culture.

to acquaint with folk traditions, customs, rituals;

expand ideas about the culture of the Russian people;

develop aesthetic and moral perception of the world;

to cultivate interest in the history and folk art of Russia;

give an idea about the structure of the house, the history of folk costume, folk craft, folklore, Russian national cuisine.

3.3 Project participants

In MBOU, Irkutsk, secondary school No. 71, where students of schools in grades 1-9, are engaged in the studio of modern choreography "Triumph". All children are divided into groups, for each group a training program has been developed depending on the physiology and personality of the children. Together with children and parents we take part in various events, both in school and city, regional and international competitions. A lot of work is being done to master the technique of Russian dance. I carry out the selection of the musical repertoire, the preparatory stage on topics: I read literature, use Internet resources, attend master classes, analyze the physiology of the children of the group, and then I stage the planned performance. An interesting result of the creative joint work was the numbers: "Grandfather Artel" - children 8-9 years old, according to the fairy tale "Turnip"; "On Ivana-on Kupala" - children 11-14 years old on a holiday and others.

4. DESCRIPTION OF THE PROJECT

After analyzing the level of familiarization of schoolchildren with the history and culture of the Russian people, we came to the conclusion that most children do not have a sufficiently high level of knowledge on this topic. Therefore, we decided to make extensive use of all types of folklore (fairy tales, songs, proverbs, sayings, folk omens, round dances, etc.). In oral folk art, as nowhere else, special features of the Russian character, its inherent moral values, ideas about kindness, truth, courage, diligence, fidelity have been preserved. Folk holidays and traditions should occupy a large place in introducing children to folk culture. They focus the finest observations accumulated over the centuries on the characteristic features of the seasons, weather changes, the behavior of birds, insects, and plants. Moreover, these observations are directly related to labor and various aspects of human social life in all their integrity and diversity.

Folk art, arts and crafts, including various genres of oral folk art, are among the means of familiarizing schoolchildren with ethnic culture. For example, a proverb is an important means of introducing people to the ethnic culture.

In any proverb there is always a "pedagogical moment" - edification: a proverb is understood as a well-aimed figurative saying of an edifying nature, typifying the most diverse phenomena of life and having the form of a complete sentence.

Proverbs satisfied many spiritual needs of the working people: cognitive-intellectual (educational), production, aesthetic, moral, etc.

The proverb is created by all the people, therefore it expresses the collective opinion of the people. It contains the people's assessment of life, the observations of the people's mind. The ultimate goal of proverbs has always been education, since ancient times they have acted as pedagogical means. The moral idea is also reflected by riddles that are smart and highly poetic. Accordingly, they have an impact on mental, aesthetic and moral education. 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 people have always had a high opinion of riddles: "A riddle is a clue, but seven miles of truth." Exercises in guessing and inventing riddles were considered extremely useful activities, the role of folk songs is great and incomparable to anything. The songs and dances reflect the age-old expectations, aspirations and innermost dreams of the people.

Songs and dances are unique in their musical and poetic design of the idea - ethical, aesthetic, pedagogical. Beauty and goodness act in unity. Folk songs have absorbed the highest national values, focused only on good, on the happiness of man.

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 beautiful singing was taught, and it, in turn, taught beauty and kindness. Song and dance accompanied all the events of folk life - work, holidays, games, etc. The songs and dances reflect the age-old expectations, aspirations and innermost dreams of the people.

The songs reveal the external and internal beauty of a person, the meaning of beauty in life; they are one of the best means of developing aesthetic tastes in the younger generation. Beautiful melodies enhance the aesthetic impact of the poetic words of the songs. The influence of folk songs on peasant youth has always been enormous, and their significance has never been limited to the beauty of verse and melody (external beauty, beauty of form). The beauty of thoughts, the beauty of content are also among the strengths of folk songs.

Fairy tales occupy a special place in the process of familiarization with ethnic culture, since they are perhaps the most effective form of pedagogical influence on a person. In most Russian folk tales, the main character - the hero, taking care of his loved ones, his people, fights with various monsters (Serpent Gorynych, Koschey the Immortal) and, destroying evil, establishes justice and harmony in the world.

A folk holiday is a peculiar, combining several different genres of folk art, a means of familiarizing with ethnic culture. Folk holidays were a real code of unwritten norms and duties, but only in an artistic and emotional form. Rituals that reflect the moral principles of the Ukrainian people, reinforce feelings of loyalty to family, friends (girlfriends), develop the aesthetic feelings of children and contain many other pedagogical elements, are vividly represented in such holidays as Christmas, Easter, Trinity, Shrovetide [Appendix 4]. That is why it is more expedient to introduce children to folk traditions in the form of a holiday. At the same time, it is important not only to give children new knowledge, but also to organize their direct participation in the performance of rituals, singing folk songs and dances, and dramatizations.

Holidays and entertainment - bright and joyful events in the lives of children Preparing and holding holidays and entertainment contribute to the moral education of children: they are united by common experiences, they bring up the foundations of collectivism; works of folklore, songs and poems about the native country, native nature, labor form patriotic feelings [appendix 1]. Learning folk songs, poems, dances, children learn a lot about their country, nature, people of different nationalities [Appendix 4]. This broadens their horizons, develops memory, speech, imagination, and promotes mental development.

Strategy and mechanisms for achieving the set goals

To involve children in participation in city holidays so that they have the opportunity to plunge into the atmosphere of general joy and fun (Shrovetide, Christmas, Easter),

To create such a developing environment in the group that would contribute to the development of the child's personality, based on folk culture based on local history material (a mini-museum of Russian life, arts and crafts, folklore, music, etc.) [Appendix 6].

It is very important to familiarize children with folk decorative painting. She, captivating the soul with harmony and rhythm, is able to captivate the children with national fine arts and use the acquired knowledge for the development and tailoring of costumes.

To develop and conduct a pedagogical event "Festival of felt boots", on the basis of the school with the participation of children from different groups. [appendix 2].

Take part in the development and implementation of the school holiday "Seeing Shrovetide".

Together with the children, collect material on the topic: “Russian proverbs and riddles”, conduct a blitz question in the classroom on knowledge of this topic.

View a presentation on the fairy tale "Turnip" with the younger group, give the task to the children to draw the characters of this fairy tale, choose their favorite character and present it in class. Design costumes for the characters. Find a piece of music through which you can tell about the characters.

Put on a choreographic number "Grandfather Artel".

Take part in the city competition "The Best Master Class" with the theme "Creating images of the heroes of the fairy tale "Turnip" by means of choreography."

Collect material about signs, customs and Russian rituals [Appendix 1, 3].

Choose a piece of music and, using material about round dances, put on a choreographic number “Chamomile Field”, with which to take part in various events.

Make a selection of presentations on the topic "Russian costume" [Appendix 5], about the holiday "Ivan Kupala".

Choose musical works on the topic, put on the number “On Ivan-on-Kupala” for the middle and senior groups.

Take part in the city competition "Ring, Ring Golden Russia".

Take part in regional and international choreographic competitions, master classes.

4.2 Work plan for project implementation

Event date

Name of the event

Location of the event

Responsible for the event

October 2014

remotely

MKOU DPO TSIMPO

February 2014

GDT "Friendship"

MKOU DPO TSIMPO

G.Baikalsk

DCF "ART-festival", Moscow

October 2014

Department of Education

April 2014

City competition "Spring drops"

City Department of Culture

March 2015

"Seeing Shrovetide"

MBOU Irkutsk secondary school №71

School administration

January 2015

"Festival of felt boots"

MBOU Irkutsk secondary school №71

Stelmakh I.G.

March 2015

Master class "Folk dance"

DCF "ART-festival", Moscow

March 2015

7th International Championship of Arts "Wind Rose in Sochi"

AQUA-LOO, Sochi

DCF "ART-festival", Moscow

4.3 Projected short-term and long-term results of implementation project

When creating this project, it was planned to implement the project in the medium term (from 2 to 10 months), but when they began to put it into practice, a desire arose to study this topic in more depth. It is so multifaceted, includes many sections that will help to cover this topic. In fact, you can practice for several years up to 2 years or more. Children move from one group to another by age, they change physiologically, the technique of performing movements grows, understanding of what they perform, the culture of the stage grows, the preparation and selection of choreographic material changes and becomes more complicated. The topic of studying Russian traditions and implementing them in performances requires painstaking work. Over time, the number of team members increases, the number of spectators who come to concerts and, of course, become direct participants in this project increases. New costumes are being developed and produced for the numbers, which we sew together with the school administration and parents and children take part in their development. The project becomes long-term. We present our works not only at concert venues, but also are active participants in various master classes and projects, for which we receive memorable prizes and diplomas.

IMPLEMENTATION SUCCESS EVALUATION PROJECT

event title

Number of event participants

Location

Result

9-City Educational Forum, "Best Master Class"

20 participants of Triumph studio

GDT "Friendship"

Competition finalists

District Folklore Festival "Siberian Gatherings" within the framework of spirituality and culture "Radiance of Russia".

10 people

2nd place

Municipal creative competition "Siberia artisan"

15 people

remotely

winners

Competition "Wind Rose" in Baikalsk

15 people

G.Baikalsk

Competitors

March 2015 7th International Championship of Arts "Wind Rose in Sochi"

18 people

AQUA-LOO, Sochi

Competition winners

Regional competition "Baikal-Antre" April

40 people

SAPEU Irkutsk

Competitors

Indicators and criteria for the success of the project

Monitoring of children, the goal is to identify the theoretical knowledge and practical skills of pupils of preschool educational institutions regarding:

The level of formation of knowledge about the subjects of folk life, folk holidays and traditions, various types of folk arts and crafts, the ability to carry out orientation in various activities related to the reflection of ideas about folk culture [Appendix 7].

The need to use this knowledge and skills in practice: participation in the organization and holding of folk festivals and folk dance competitions, apply the technical skills of sewing a costume and cutting it for yourself.

The level of formation of the ability to independently model their activities, based on theoretical knowledge and practical skills.

Monitoring among parents is carried out using questionnaires at the beginning and end of the school year. Parents fill out the questionnaire in the presence of a teacher and can get the necessary advice from him. The results of the survey showed that many parents consider it important to introduce their children to the national culture, but some do not know how to do this, since there is no specialized literature. Most parents are convinced that the school should do the main job of introducing children to the national culture, and parents should only help in this.

After the events, we hold open classes with children, when parents are surprised to discover for themselves how important they are to their children and dear to them. Such open classes for parents on the following topics were very enthusiastic: “Festival of felt boots”, “A fascinating journey” and others.

Risk assessment

Permissible risks: It is very important in any project of financing to achieve a result, and the lack of it leads to the failure to implement the plan to the end. Also important is the availability of technical equipment for the preparatory process: a hall, musical equipment, costumes. Of course, one of the important factors in the implementation of any project is its performers. Without them, everything will remain only on paper, in our minds. When thinking about any number, first of all I analyze who can carry it out and release it on stage.

Ways to solve them: The main thing is to get support from parents, they will be able to convince the children and take part in the implementation of the project themselves. It is necessary to get support from the school administration, as various events are held on the basis of the school, where we can test our result. Each group of children in the team is different in terms of their technical capabilities, so it is important to select for each child the program that he can learn so that he does not lose interest in choreography classes, in obtaining additional information, and together with them make every effort to implement the project .

Further development project

This project can be developed further, taking into account the age of children in school; involving parents, teachers in joint creativity with children; involving different areas of study: sewing, the ability to embroider patterns, acting, makeup artists, etc. Analyzing the work done in recent years, I realized that at the present stage the biggest problem is the rupture of ties between generations, education outside of cultural and historical traditions. Forgetting our roots, we break the connection between times and generations, and a person without a memory of the past, faced with the need to redefine his place in the world, a person deprived of the historical experience of his people, finds himself outside the historical perspective and is able to live only today. In the experiences of our fathers and grandfathers there are seeds of such wisdom, which will germinate in our century and give good shoots. Only having managed to arouse interest in the family tree, in the values, customs and holidays characteristic of the family in which the child is brought up, it is possible to begin work on the formation of a traditional family culture in the process of interaction between parents and teachers.

BIBLIOGRAPHY

People and customs of Ancient Russia: Historical and everyday essays of the XI-XIII centuries. / B. A. Romanov; foreword: I. N. Danilevsky. - M.: Territory, 2002. - 254 p.

Holidays, rituals and customs of the Russian people / comp. M. M. Zabylin. - M: Eksmo, 2007. - 607 p.

History of Russian culture of the IX-XX centuries. / V. S. Shulgin, L. V. Koshman, E. K. Sysoeva and others. - M .: Bustard, 2003. - 480 p.

Culture of the Russian people: customs, rituals, activities, folklore / L. S. Lavrentyeva, Yu. I. Smirnov; Fig.: M. V. Markova, E. G. Svetozarova. - St. Petersburg. : Parity, 2005.

Peoples of Russia: History and Culture, Customs and Traditions: Schoolchildren's Handbook / I. V. Sinova. - St. Petersburg. : Litera, 2008. - 94 p.: color. ill. - (Beloved Russia).

Culture of the Russian people [Electronic resource]: about 8000 pages, more than 300 illustrations. - M.: New disk, 2008. - 1 el. opt. disc (CD-ROM) :col.ill. - (Electronic B-ka DM).

Holidays, rituals and customs of the Russian people / comp. M. M. Zabylin. - M. : Eksmo, 2007. - 607 p. : illustration, photo.color - (Illustrated encyclopedias of Russian culture).

V. Dal Proverbs of the Russian people - Ast. Astrel, 2008 - 752 p.

V.Dal Fairy tales, floorboards, sayings - Dragonfly, 2010 - 64 p.

A.F. Nekrylova. Russian folk city holidays, amusements and spectacles - Book on demand, 2012. - 191 p.

T.Ustinova Russian dances - "Young Guard", 1955

Attachment 1

Choreography project "Preservation of traditions".

1 head teacher

2 Relevance

3 Hypothesis

5 Tasks

6 Forms and methods of research

7 Stages (progress of the study)

8 Implementation timeline

9 Useful resources (sources of information)

head teacher

Name: Stelmakh Irina Gennadievna

E-mail: ctelmax64mail.ru

Subject area: additional education teacher

Region: Irkutsk region

Location: Irkutsk

Name of educational institution: MBOU secondary school No. 71

Relevance

Everything in our life is changing so rapidly that it is impossible to predict what the coming century will bring us, what other trials and problems await us ahead, what humanity will translate into reality, and what will be left behind a new turn of the wheel of history. And yet there are still things in the world that the hand of progress has not touched, this is the most beautiful thing, what has been created for centuries, what is sacredly kept by our ancestors and protected so that future generations can appreciate, pay tribute and multiply, adding that Something new is our culture. After all, culture is not only beautiful works of art, it is the spiritual life of society as a whole, the achievements of science and art, the way of behavior learned in the process of learning and perception, the spiritual world of the individual, the level of development of something, the totality of traditions of transmitted norms of activity and behavior. Indeed, traditions, customs, ceremonies, rituals play an important role in our life and directly in our development. On the other hand, these words can evoke ideas about the power of the past, striving to subjugate the new, the young, to delay the course of the development of life. This is how we sometimes imagine the meaning of these ancient and wise words, sometimes forgetting that customs and traditions always consolidate what has been achieved in public and private life, it is they who stabilize social relations, consolidating what was achieved over the centuries by the generations of our ancestors.

In the process of education, the continuity of generations is ensured, which is a condition for continuous development. The manifestation of continuity is diverse and multifaceted. It can manifest itself in personal terms, in terms of family and social traditions, which contribute to the preservation of the general stable stereotyped behavior, the similarity of the way of thinking and certain inherent character traits. All this contributes to the formation of the so-called childhood memory, since the foundations of a person's personality are laid at preschool and school age. In the moral education of children, the people widely use traditional public and family holidays, holiday customs, ceremonies, and rituals. Public holidays, as a special way of mass and public satisfaction of the material and spiritual needs of people, having a humanistic orientation, contribute to the formation of personality.

Russia is a homeland for many, but in order to be considered its son or daughter, you need to feel the life of your people and creatively assert yourself in it, accept the Russian language, history and culture of the country as your own. Native culture, like father and mother, should become an integral part of the child's soul, the beginning that generates personality

Hypothesis: if the teacher includes in the educational process the means of folk pedagogy (according to Russian folklore, traditions, fairy tales, etc.), then this contributes to the comprehensive development of school-age children, enriches their inner world and gives knowledge in the field of folk art.

Goals:

Spiritual and physical development, revealing the individual capabilities of the child's personality with the help of dance art, including the means of folk pedagogy in the educational process.

Tasks:

To acquaint with folk traditions, customs, rituals;

give an idea about the structure of the house, the history of folk costume, folk craft, folklore, Russian national cuisine

Educational: the formation of musical and rhythmic skills in children. the formation of the skills of correct and expressive movement in the field of folk and modern choreography, teaching children the techniques of acting, organizing production work and concert activities (learning dance compositions, participation of children in competitions, festivals), expanding knowledge (acquaintance of children with history and traditions)

Developing: teaching children how to work independently and collectively, self-control and mutual control. organization of the search for new cognitive landmarks (organization of creative activity, self-acquisition of knowledge) Educational: creation of a basis for the creative thinking of children, development of activity and independence of communication in children, formation of a general culture of the child's personality, capable of adapting to modern society

Forms and methods of research:

1. Lesson (group lessons) 2. Research methods 3. Creative competition 4. Individual work 5. Staging work.

Teaching methods: 1. Verbal, story, explanation, conversation. 2. visual: demonstration, demonstration of working methods. 3.Practical: exercise, independent work. Methods of educational action: 1. Beliefs. 2.Training. 3.Example. 4. Analytical methods, observation, comparison, analysis, survey.

Stages (progress of the study)

SECTION 1. Goals and objectives:

Raise interest in history and folk art;

To acquaint with folk traditions, customs, rituals;

Expansion of their ideas about the culture of the Russian people;

Development of aesthetic and moral perception of the world;

To give an idea about the structure of the house, about the history of folk costume, about folk craft, about folklore. “Tradition”, “custom”, “rite” are the most important elements of the culture of every nation, these words are familiar to everyone, evoke certain associations in memory and are usually associated with memories of that “gone Russia”. The inestimable value of traditions, customs and rituals is that they sacredly preserve and reproduce the spiritual image of a particular people, its unique features, accumulating all the accumulated cultural experience of many generations of people, bring into our lives all the best of the spiritual heritage of the people. Thanks to traditions, customs and rituals, peoples most of all differ from one another. Introduce children to one of the Ivan Kupala holidays, conduct research on this topic, group work. To acquaint with the genre of unmarried youth - a round dance. Its function is multifaceted. As a dramatized action, the round dance is connected by origin with ancient rituals, and then became a favorite form of mass youth festivities. In ancient times, youth were entrusted with a certain mission in agricultural magic. Traces of this have been preserved, for example, in the form of dancing round dances (many drawings of round dances are close to the ancient symbolism of cosmic forces: a circle, a spiral, a wavy line ...), and in the very attitude of young people to round dances as an important, obligatory and intimate, and not just an entertaining pastime. The round dance was a kind of school of communication that went beyond the family, a school of being in public. Here a high culture of behavior, a beautiful gesture, and joint singing was developed. Girls in festive costumes demonstrated their handicraft skills.

SECTION 2. Choose a piece of music that would reflect the essence of this topic. SECTION 3. I use dance vocabulary to pick up movements for a piece of music.

SECTION 4. "I am a costume designer" - the topic of a creative lesson, the study of Russian costume, tailoring a costume for this work, individual and group work. SECTION 5. Acting skills Tasks: - to teach pupils to associate poses with movement, with music (poses should be “speaking”), and movements “telling”. - teach the laws of movement in the scene space;

SECTION 6. Creative activity. The organization of creative activity of students helps the teacher to see the character of the child, find an individual approach to him, taking into account gender, age, temperament, his interests and needs in this kind of activity, to identify and develop his creative abilities. Creative situations are played out both for collective and for individual work. Topics for staged work should arouse interest in children. In the staged work, the method of joint creativity of the teacher and pupils is used (a communicative type of activity of students). The process of joint creativity consists of the following stages: Stage 1 - conscious preparatory work Stage 2 - implementation of the compositional plan Stage 3 - verification of all compositional solutions

SECTION 7. Show the finished work to the viewer, see the result of your work.

Implementation timeline

3-6 months. Conclusions: As a result of systematic choreography classes, children will learn to express their feelings through movements, they will see the connection between historical traditions and music, and modern culture. The main feature of choreography classes is the development of not only the physical abilities of the young organism, but also the structure of the creative basis of the personality: a combination of music, movements, dramatic art, artistic taste of the child, as well as the development of his general culture and intellect. Confirmation of the above is the performance of children in many district events. Children repeatedly take part in inter-regional and all-Russian competitions.

Appendix 2

Pedagogical event with children "Boots-boots",

prepared Stelmakh Irina Gennadievna MBOU Irkutsk Secondary School No. 71 teacher of additional education.

Objectives: Formation of ideas about the life of ancestors.

Tasks: Development of cognitive interest in the specifics of everyday folk culture. Education of hospitality, love for the motherland, one's people. Formation of the ability to understand the meaning of proverbs and sayings. The study of the diversity of Russian folk dances, songs, traditions.

Preliminary work with children and parents.

· Guessing riddles, learning poems and ditties, dancing with felt boots.

· Acquaintance with the history of Russian felt boots.

Artistic decoration of children's felt boots.

Equipment: felt boots for children and adults, a samovar, a cup, a stove, a towel, tracks and rugs, 2 gymnastic sticks, 2 racks for a relay race, a Russian costume for the Hostess.

Decoration: There is a stove. On the central wall there are towels, napkins, homemade runners, outlines of felt boots cut out of cardboard and painted, rustic rugs, painted scarves, a bell. Russian folk songs are heard in the hall, it is written in large letters - "Exhibition" Russian felt boots ". On the screen - a splash screen

Russian folk melody sounds.

Under the Russian folk song "Ah, you, canopy," the hostess enters, dancing.

Owner: Hello guys! Hello dear guests!

Ice bell, it is everywhere, everywhere with me.

Ding-dong, ding-dong, he distributes riddles.

1. Who made soft beds from the blizzard everywhere? Winter.

2. Who, friends, with great difficulty, hid the river under the ice? Winter.

Hostess: Well done! You know everything.

Hostess: Guys, do you know that felt boots are primordially Russian shoes? They are not afraid of either frost or snowstorms, they met Shrove Tuesday, caroled, danced. Felt boots, pimas, wire rods, chesanki - how many affectionate names the Russian people gave to great shoes! In the old days, felt boots were considered a valuable gift, and a sign of prosperity. Therefore, there were no better shoes for festivities in Russia! (presentation show). And I'll tell you riddles:

1) Not shoes, not boots,

But they are also worn by legs.

2) We run in them in winter

In the morning - in the kindergarten, in the evening - home.

Yes, there is only one answer - felt boots.

Hostess: Yes, guys, felt boots are not only warm natural shoes, but also useful. Look at boots of different models, that's what they are. All this was done by our children and their parents. Well done! So much imagination and creativity here.

What is that behind my stove? These are old boots. Come on, boots, play with us! Music.

Folk signs associated with felt boots

Valenki were the best footwear for walks in Russia. They celebrated Shrove Tuesday, caroled, danced round dances, danced to the accordion. Valenki were a sign of prosperity, they were very expensive. And if the groom came to woo in felt boots, the bride's parents were not stubborn: it means that the daughter is destined to live in abundance!

What other signs do you know?

(The girls, guessing on the Epiphany evening for their betrothed, threw out of the gate not a shoe at all, but a felt boot. In a felt boot they were transported to the new place of residence of the brownie.)

RELAY RELAYS.

1. "In one felt boot" - Children put one large felt boot on their feet, run around the rack, return and pass it to the next one.

2. "On all fours" - Relay participants put on felt boots on both legs and on both hands, run to the landmark.

Wow, how hot it has become, not a single frost will take us now. Let's check? Get in the circle now!

Mobile game "Burn bright"

Under the Russian folk melody, the children go in a circle. In the center, in the opposite direction, there is a leader with a tambourine. Children clap their hands, and the driver jumps. The driver stops and holds out a tambourine between 2 children. Everyone shouts: "Burn, burn brightly so that it does not go out. 1,2,3 - run!" Two guys run around the circle. Whoever runs into the place first and hits the tambourine becomes the leader.

Let's compete some more. Leave the team bold and dexterous.

Guys, do you know that sometimes felt boots were used in an unusual way. They could put a felt boot in a pillowcase and sleep like on a pillow. Instead of a mailbox, felt boots were hung on the door, so now we will turn our felt boots into horses and race.

4. "Horses" - Putting on a felt boot on a stick, ride on horseback and pass it to the next rider.

5. "Jump over boots" - Do you know how to jump? High? Let's check! Children jump over 4 felt boots lying on the floor in a row, run to the counter, back.

Mistresses: How well you played, how fast and dexterous you are.

And you work for glory, and you know how to have fun from the heart.

Annex 3

Synopsis: "Traditions and rituals", prepared by Stelmakh Irina Gennadievna MBOU Irkutsk Secondary School No. 71 teacher of additional education.

Introduction

We live in a new century, many great discoveries have not yet been made, which the twentieth century brought us. As if opening a new page in the history of mankind, we are given to learn more than our fathers, grandfathers, great-grandfathers knew. They contributed their share of knowledge to the wheel of progress, giving us a basis for development, as we will later give the best to our children.

Everything in our life is changing so rapidly that it is impossible to predict what the coming century will bring us, what other trials and problems await us ahead, what humanity will translate into reality, and what will be left behind a new turn of the wheel of history. And yet there are still things in the world that the hand of progress has not touched, this is the most beautiful, what has been created for centuries, what is sacredly kept by our ancestors and run around so that future generations can appreciate, pay tribute and increase by adding something new is our culture. After all, culture is not only beautiful works of art, it is the spiritual life of society as a whole, the achievements of science and art, the way of behavior learned in the process of learning and perception, the spiritual world of the individual, the level of development of something, the totality of traditions of transmitted norms of activity and behavior. Indeed, traditions, customs, ceremonies, rituals play an important role in our life and directly in our development. On the other hand, these words can evoke ideas about the power of the past, striving to subjugate the new, the young, to delay the course of the development of life. This is how we sometimes imagine the meaning of these ancient and wise words, sometimes forgetting that customs and traditions always consolidate what has been achieved in public and private life, it is they who stabilize social relations, consolidating what was achieved over the centuries by the generations of our ancestors.

1. TRADITIONS: THEIR ESSENCE AND STRUCTURE

There is much in common between traditions, customs and rituals. All of them are special forms of transferring social and cultural experience to new generations. Traditions and customs may include ritual elements, but they are not rituals.

"Tradition is a special form of fixing social relations, expressed in historically established, stable and most general actions, norms and principles of social behavior, passed down from generation to generation and preserved, as a rule, by the power of public opinion" Therefore, tradition arises as a result of certain historical conditions.

So, in Russia, with the advent of Christianity, the tradition of baptizing newborns arose. Baptism is one of the Christian sacraments, which marks the acceptance of a person into the bosom of the church. According to the clergy, a person, as a result of baptism, dies to a carnal, sinful life and is reborn to a holy, spiritual life. According to Christian ideas, people are born tainted with original sin, and baptism is called upon to “wash away” this sin, to open the prospect of salvation before a person.

A custom is a repetitive, habitual way of behaving people in a particular situation. Customs include generally accepted methods of work, common in a given society forms of relationships between people in everyday life and family, diplomatic and religious rituals and other repetitive actions that reflect the characteristics of the life of a tribe, class, people. Customs are formed historically.

In custom, the mores of society find their manifestation, their emergence and character are influenced by the peculiarities of the history of the people, their economic life, natural and climatic conditions, the social status of people, religious beliefs, etc.

In the Orthodox religion, the custom of baptism is associated with the immersion of a newborn in a font filled with water. In the Catholic religion, this custom consists in sprinkling a newborn with water. In the Old Believers, which had spread in the Volga region since the 17th century, there was a custom of self-baptism, or "grandmother's consent." The followers of this branch of religion denied the sacrament of the priesthood and considered it possible for the laity to perform the ceremony. The name "consent" is explained by the fact that adults baptized themselves, and midwives baptized children.

“The rite is understood as a stable set of relations and actions adopted by a given social group for the most significant situations.” The rite provides a ready-made channel for the manifestation of feelings and relieves a person from the need to look for a way for their manifestation in a moment of strong emotions. Approximately this is how the famous writer VV Veresaev interpreted the semantic function of the rite.

Currently, rituals are usually divided into pre-religious, religious and non-religious (civil).

Pre-religious rites include, for example, initiations, which were discussed in the previous section.

A striking example of a religious rite is baptism. The rite consists of several sequential actions - rituals. The godmother and godfather, who after the parents are the guardians and mentors of the child, read the prayers “I believe”, then the chrismation takes place. The ritual includes lubrication of the forehead (so that the mind is pure), hands (so that the child is a creator and creator), chest (so that the heart is kind, pure, peaceful), legs (so that the child follows the right path).

This ritual is a relic of pagan ideas, Kolyadovo rites, based on the belief that lubricating a person's body with oil scares away evil spirits. Christianity borrowed the rite, giving it a new meaning, linking it with the principles of its faith, endowing it with its sacraments.

After chrismation, the child is dipped into the font three times. The first descent is accompanied by the prayer "In the name of the father", the second descent - "In the name of the son", the third - "And the holy spirit." Then the godparents with the baby in their arms (the godfather carries the boy, and the godmother carries the girl) go around the font and make a promise to help the parents in raising the child, to be always there, both in difficult and joyful moments of his life, in the conclusion of the mother and a cleansing prayer is read to the baby.

Each rite has its own characteristic ritual, its own details, emblems, songs, its own moral meaning, evokes moods and emotions corresponding to it. The structure of the rite includes a number of ritual actions, some of which are fixed and become customs, others die off, and new elements appear in their place. But this does not mean that only rituals give rise to customs. Many customs arise outside the ritual form on the basis of certain traditional forms of "being, the expediency of applying each custom in each specific situation. Most often, an already existing custom is included in the ritual form and becomes its stable element. Stability passes into tradition, and tradition "sets" the content of the form, in this case ritual.Changing traditions changes the ritual form, its structure, content, purpose.

The main purpose of religious rites is that they are an important means of ideological and emotional influence on believers, and thus form a system of habitual religious ideas in the minds of people and cult stereotypes in their behavior. Repeated repetition of ritual actions turns into a habit and becomes a need of the believer. At present, the church is faced with the problem of adapting rituals that are archaic in origin to the present. It is no coincidence that now during the service in the Catholic Church they often use modern music or singing with a guitar. In search of new forms of expression, the church turns to various schools of secular philosophy, to mystical teachings, which, of course, will be reflected in the change in traditional forms of ritual. After the Great October Socialist Revolution, civil ceremonies began to actively enter into life. It must be said that civil rites are not a product of the revolution, they have existed throughout the history of class society. Even in ancient Greece and in ancient Rome, military rites were adopted - honoring the winners, sports competitions.

In feudal society, boys had to master the seven knightly virtues: riding, swimming, owning a spear, sword and shield, fencing, hunting, playing chess, and the ability to compose and sing poetry. The solemn ceremony "Presenting the sword" took place at the time when the boy was 14 years old, and at the age of 21 he was knighted. In the Middle Ages in Western Europe, various ritual and spectacle forms were opposed to official church rites: carnival-type festivities, various mass satirical performances.

In the era of capitalism, the number of civil rites increased significantly. State ceremonies appeared - presidential elections, political - the funeral of fallen revolutionaries, professional - harvesting, family - matchmaking. These rites are secular in nature, although they do not exclude certain religious elements.

Masquerades and balls were purely civil ceremonies. This is how in 1851 a costume ball was held at Count N.V. Orlov. “Countess N. Alekseeva,” an eyewitness writes in one of the newspapers, “in the outfit of a Russian noblewoman, met guests. The ball was opened by a young handsome dandy-rake Carnival, leading a beautiful companion by the hand. Madness flew after the Carnival, followed by four elements: Fire, Water, Air, Earth. The earth was accompanied by the black-eyed king of the Dwarves. The seasons "fly" behind the elements. Pierrot, Harlequin, frisky Dance, ancient Comedy, Caprice and the fantastic Chimera with their winner Bellerophon sought after the Carnival in pairs. It was a lively, merry poem in faces with the quirks of the most sumptuous fantasy.

Then the doors of the living room opened, the insects brought in a basket of fresh flowers (Count L. N. Tolstoy was dressed as an Insect). Four Sunflowers walked ahead, a magnificent long-legged Dragonfly trudged along, crackling its large wings and touching the noses of careless men, a night butterfly, a bee threatened with its sting. All this winged and buzzing swarm surrounded a magnificent basket, where living Flowers, the color and beauty of our society, rested in charming bliss. The dream of a magical night lasted until the sun. This is a feast of the most reasonable and richest treat, for which Moscow society, of course, thanks its kind, truly Russian hosts from the bottom of its heart. The rapid growth of civil rites in our country has been associated with January 23, 1918, when the Council of People's Commissars adopted a decree "On the separation of church from state and school from church." From that day on, new civil rites began to enter into life: the name, naming, coming of age, the first salary, silver and gold weddings. What is the basis of the performed civil rites? First of all, folklore is an integral element of folk life. There are a lot of genres in folklore: fairy tales, ditties, round dance songs, lamentations, riddles, proverbs and sayings, songs (calendar-ritual, game, family-ritual). They have not only different purposes, but also different artistic means, different material from which they are created: different combinations of words, tempo-rhythm, melody, choreography, gestures, facial expressions, intonations. According to their purpose, folklore genres quite clearly fall into two main groups: applied and aesthetic.

A spinning wheel was made for spinning, a pot was made for cooking cabbage soup, a sundress was sewn to be clothing. But each of these things could become a work of art - the form, ornament, technique of execution made it so. The lullaby was sung in order for the baby to fall asleep as soon as possible, but the song passed from generation to generation as a highly artistic work. However, in this group of folklore genres, the practical function dominated.

The old folklore also knew such genres that were created as purely artistic, entertaining or didactic (instructive). These are fairy tales, lyrical and dance songs, ditties. Their execution had no practical purposes, they were dominated by an aesthetic function.

Folklore was organically woven into rituals, and sometimes it is difficult to distinguish the boundary between rational (practical) and ritual action. Thus, the ritual cleansing of fishing nets with smoke was performed for the practical purpose of repelling the smell of a person that could scare away the fish. The peasants did not confuse practical actions with ritual ones and considered them equally obligatory and complementary. Starting to sow, the peasant uttered a conspiracy that was supposed to help grow a rich harvest, but he never thought that he could get by with one conspiracy without seeds.

What else have modern civil rites taken from the past? In the old peasant life, however, as in today's, human life developed cyclically: birth, childhood, adolescence, youth, marriage, etc. The same was observed in the annual repetition of the seasons and, accordingly, in seasonal agricultural work. Each significant event and a new cycle of human life and the nature around him necessitated actions that, due to their regular repetition, were performed in the usual traditional order. The cyclic repetition of practical and ritual actions, ways of combining them, interpenetration created the stability of ritual forms and reinforced the dissimilarity of each rite: christenings are not like a wedding, Christmas rites are not like Kupala ones. This principle of building old Russian rituals and modern ones creates a solemn and at the same time festive atmosphere. It must be admitted that for many years we have struggled with religious rites, civil ones have not found their place in the daily life of a person, and the unsatisfied need for a holiday remains. Can the family in our fleeting and “automated” age solve this problem? Of course yes. A family can have its own rituals, traditions, rituals, things-symbols that are passed down from generation to generation, increasing the strength and power of the family.

2. Tradition and innovation in culture

Culture, like any dialectically developing process, has a stable and developing (innovative) side.

The sustainable side of culture is a cultural tradition, thanks to which the accumulation and transmission of human experience in history takes place, and each new generation of people can actualize this experience, relying in their activities on what was created by previous generations. In the so-called traditional societies, people, assimilating culture, reproduce its samples, and if they make any changes, then within the framework of tradition. On its basis, the functioning of culture takes place. Tradition prevails over creativity. Creativity in this case is manifested in the fact that a person forms himself as a subject of culture, which acts as a set of ready-made, stereotyped programs (customs, rituals, etc.) for activities with material and ideal objects. Changes in the programs themselves are extremely slow. These are mainly the culture of primitive society and later traditional culture.

Such a stable cultural tradition under certain conditions is necessary for the survival of human groups. But if certain societies abandon hypertrophied traditionalism and develop more dynamic types of culture, this does not mean that they can abandon cultural traditions altogether. Culture cannot exist without traditions.

Cultural traditions as historical memory - an indispensable condition not only for the existence, but also for the development of culture, even in the case of the creative qualities of a new culture, dialectically denying, includes continuity, assimilation of the positive results of previous activities - this is a general law of development, which also operates in the sphere of culture, having a special importance. The experience of our country also shows how important this question is in practice. After the October Revolution and under the circumstances of the general revolutionary situation in the society of artistic culture, a trend arose whose leaders wanted to build a new, progressive culture on the basis of the complete negation and destruction of the previous culture. And this led in many cases to losses in the cultural sphere and the destruction of its material monuments.

Since culture reflects differences in worldviews in the system of values ​​in ideological attitudes, it is therefore legitimate to speak of reactionary and progressive trends in culture. But it does not follow from this that it is possible to discard the previous culture - it is impossible to create a new higher culture from scratch. The issue of traditions in culture and the attitude to cultural heritage concerns not only the preservation, but also the development of culture, i.e. creation of a new, increment of cultural wealth in the process of creativity. Although the creative process has objective prerequisites both in reality itself and in cultural heritage, it is directly carried out by the subject of creative activity. It should immediately be noted that not all innovation is the creation of culture. The creation of the new becomes at the same time the creation of cultural values ​​when it does not carry a universal content, acquiring a general significance, resonates with other people. In the creativity of culture, the universal organic is merged with uniqueness: each cultural value is unique, whether it is a work of art, an invention, etc. Replication in one form or another of what is already known, already created earlier - this is the dissemination, and not the creation of culture. But it is also necessary, because it involves a wide range of people in the process of functioning of culture in society. And the creativity of culture necessarily implies the inclusion of the new in the process of historical development of the culture-creating activity of a person, therefore, it is a source of innovation. But just as not every innovation is a cultural phenomenon, not everything new that is included in the cultural process is advanced, progressive, corresponding to the humanistic intentions of culture. There are both progressive and reactionary tendencies in culture. The development of culture is a contradictory process that reflects a wide range of sometimes opposing and opposing social class and national interests of a given historical epoch. For the approval of the advanced and progressive in culture.

3. The influence of customs and traditions on the formation of personality

The formation of the personality of the child, of course, includes the issue of educating the child in a respectful attitude towards people of different nationalities. A child from preschool age should see in each of his little comrades a friend in mutual assistance, in spirit.

Each person has a unique, specific, integral educational system that has developed over many millennia, covering all aspects of preparing children for the future life. Its folk pedagogy, which for a long time, improving and improving, is transmitted from the older generation to the younger, subsequently becomes the property of young parents and gives positive educational results in the moral development of the individual.

Many customs and traditions of different peoples differ only in form, but are the same in content. In this regard, the study of pedagogical customs and traditions of a particular people is important not only for it, but also for other peoples.

When studying the history of society, the problems of the family have always attracted attention. Considering the view of the people on the upbringing and formation of a person's personality, it is very important to trace the relationship between the people and the family. It is in the family that folk educational traditions are formed, and supported by collective, public opinion. The family has its own way of life, authority, traditions, customs, holidays and rituals, with the help of which the people reproduce themselves, spiritual culture, character and psychology in a series of successive generations. In family education, a tradition stands out to form in children the knowledge of their genealogy.

All folk ethics are reduced mainly to family morality, based on a sense of kinship. This is the guarantee of the continuity of generations, the preservation of family honor, respect for ancestors.

The most important, high moral quality of a person has always been his diligence. Labor is the main means of education in the family. Deep respect for work, understanding of its importance in human life are reflected in many proverbs of the Tatar people: - First do, then say. Talk less, work more.

The upbringing of children in a family does not represent people without labor. In the family, children learn, prepare for life, joint work with parents and adults. Work begins at an early age. In the family, each child, taking into account his age, is given a type of work, and he has constant labor duties.

One of the characteristic features of folk pedagogy is the cult of the mother, the cult of parents, the cult of the older generation in general. “Starve at least six days, but honor your father,” the Tatars say.

In folk pedagogy, motherhood is considered, a woman is exalted - a mother, a cult of the mother is created: "Work all your life, day and night - work of the mother is not compensated" Mother is the only person whose love for children is noble, disinterested, amazing in her wisdom, infinity and masculinity .

People say about the role of the father in the family: “The father is alive - look not at his actions, the father is dead - remember his will”

In ethnopedagogy, a rule has been developed that establishes that parents are responsible for how their child is brought up, how he prepares for life. But parental duties are far from being exhausted by the usual educational care for children. The proverbs on this occasion say: "Father and mother listened - he got up as a man, who did not listen - disappeared."

Empirically, folk pedagogy found that children have a great tendency to imitate, especially parents and elders in the family. This observation is fixed, for example, in such a proverb: "A good cup has good contents, a good mother has a good daughter."

What requirements does Tatar folk pedagogy make for parents so that parents can present positive moral examples to their children?

First of all - the creation of a positive moral mood in the family relationships of parents. As a rule, he is distinguished by mutual respect and friendship of his parents: “There is grace in a friendly family, where there is strife, there is death”

The Tatar people argue that parents must observe tact in education. Such are the moral lessons of folk pedagogy.

Conclusion:

Moral education of family traditions

Folk progressive and family traditions and customs, being an integral part of folk pedagogy, play an important role in the moral education of children from an early age. In the process of education, the continuity of generations is ensured, which is a condition for continuous development. The manifestation of continuity is diverse and multifaceted. It can manifest itself in personal terms, in terms of family and social traditions, which contribute to the preservation of the general stable stereotyped behavior, the similarity of the way of thinking and certain inherent character traits. All this contributes to the formation of the so-called childhood memory, since the foundations of a person's personality are laid at preschool age.

The very concept of "tradition", used in the context of "customs", "ritualism", "ritual", includes the entire spiritual heritage from generation to generation. The criterion of the social significance of any tradition, including educational, should be the correspondence to the goals and objectives of the upbringing of the moral education of the younger generation.

In the moral education of children, the people widely use traditional public and family holidays, holiday customs, ceremonies, and rituals. Public holidays, as a special way of mass and public satisfaction of the material and spiritual needs of people, having a humanistic orientation, contribute to the formation of personality. In psychological and pedagogical terms, traditional family holidays are a set of actions of family members (their close relatives, friends), most often timed to some event of a family and personal nature, and in a modern family - a calendar date. Preschool children, taking an active part in public and family holidays, receive emotional satisfaction, become familiar with spiritual values ​​and gain social experience.

It turned out that the cult of ancestors - the oldest in the family, in the family - grandparents, parents, the cult of mother and father separately, the cult of the child traditionally act separately. The cult of ancestors is dominated by more superstitious, religious ones, which assume the support of authority in the upbringing of children, taking into account their ideals and experience in the practice of family upbringing. The cult of the mother is explained by her educational role from birth to maturation of children, and the cult of the father acts as a factor of moral authority, a protector. The cult of the child derives its origin from the traditional love for children, for every child, no matter how many. It is reflected in the strict observance of customs, ceremonies, rituals, ceremonies aimed at the upbringing and development of the child's personality.

By creating new and improving existing social, family, personal traditions and customs, we have a huge impact on the consciousness and feelings of people, which make us reconsider and overcome the habits and ideas associated with the old way of life. They raise the relationship of people in society, family, everyday life to a new level, help build a better life, beautiful in form and rich in content, educate children on a high level of moral standards and principles.

Appendix 4

Scenario "Seeing Shrovetide"

Goals: to acquaint children with the traditions of the Russian people,

develop students' speech, enrich vocabulary,

teach the rules of hospitality, cultivate respect for elders.

Leading children come out.

1.Attention! Attention!

Merry party!

Get ready, people!

You see, Maslenitsa is coming to us!

The annual Shrovetide has come,
Our guest dear!
She does not walk to us,
Everyone comes on horseback.
Her horses are black,
They have golden manes,
And the sledges are painted.

2. Maslenitsa, be healthy,

We will welcome you well!

with pancakes

with loaves,

With dumplings!

3. Masleny week

Came to visit.

She sat on the stumps

Ate the pancake

Bitten by others

I jogged home.

4. Come to us for a holiday

And quiet, and a prankster.

We'll have hot tea...

There will be pancake yes kalach,

There will be games and laughter

There will be a holiday for everyone!

Hurry up, dress up

Come join us for the holidays!!!

Presenter: Hello dear guests!

Welcome to our wide yard

To the Broad Maslenitsa!

We always welcome good guests!

We welcome them with sweet tea

Let's eat pancakes!

Maslenitsa is one of the most beloved holidays of the Russian people, the most cheerful, reckless. It was expected by all with great impatience. Maslenitsa was called honest, Wide, cheerful, they called it "Boyarina - Shrovetide", "Madame - Shrovetide". They talked to Shrovetide as if they were a living being: she is either a “dear guest”, or a “woman - a wryneck”, or a “red maiden”, or “Avdotya Ivanovna”.

In many places in Russia they made a scarecrow of straw, but he did not have a face. It was believed that if there is a face, then there will be a soul. And they walked with her around the village - they praised Shrovetide. She was honored as a rare guest.

So we have "Madame - Maslenitsa" (straw doll).

Children leading:

1. Our dear Maslenitsa, Avdotya Ivanovna,

Shrovetide annual.

Our dear guest!

She does not walk to us,

Everything comes on horseback

She has black horses

The servants are young.

Oh, Maslenitsa is a wryneck,

We treat you well

Cheese, butter, kalach

And a baked egg!

2. Attention! Attention!

Merry party!

Pancake week! Wide Shrovetide!

Let's all have some fun

Let's spin in a fast dance!

We need to get up in a round dance,

Glorify Shrovetide!

Round dance around Maslenitsa (to the motive "We have Saturday tomorrow")

And we met Maslena,

We visited the mountain

Visited, soul, visited.

Pancake lined the mountain,

They filled the mountain with cheese,

Lined, soul, lined.

Stuffed, soul, stuffed.

They poured oil on the mountain,

And we met Maslena,

Watered, soul, watered.

Met, soul, met.

Presenter: Maslenitsa falls at the end of February - the beginning of March and lasts a whole week. Every day has its own name.

Children leading:

Monday Maslenitsa was called "Meeting".

On this day, all guests had to be greeted with pancakes. Pancakes are a symbol of the sun (same round and golden), and the sun is a symbol of resurgent life.

Presenter: Russian people ate a lot of pancakes on Maslenitsa, but they made fun of themselves, they made up a lot of funny sayings about pancakes.

What proverbs do you know about pancakes?

Pancakes are not without pancakes,

Without pies - no name day.

Damn good not one.

Pancake is not a wedge, the belly will not split.

The first pancake is lumpy,

The second - with oil,

And the third - with kvass.

Tuesday at Maslenitsa was "Fun". On this day, fun and various festivities began, the construction of a snow fortress, snowball fights, sleigh rides from the mountains.

Presenter: Something we sat up with you. Isn't it time to play? There is such a folk game "Boyars".

The game is played on level ground. The players are divided into two teams that line up against each other in a chain at a distance of 10-15 meters.
The first team goes ahead with the words:
Boyars, we have come to you!
And returns to its original place:
Dear, we have come to you!
Another repeats this maneuver with the words:
- Boyars, why did you come? Dear, why did you come?
The dialogue starts:
-Boyars, we need a bride. Darlings, we need a bride.
-Boyars, what do you like? Dear ones, how do you like it?
The first team confers and chooses someone:
-Boyars, this sweet one is for us (they point to the chosen one).
Dear us, this is sweet.
The selected player turns around and now walks and stands in a chain, looking the other way.
The dialogue continues:
-Boyars, she is a fool with us. Dear, she is a fool with us.
-Boyars, and we whip it. Dear, and we whip it.
-Boyars, she is afraid of whips. Darlings, she is afraid of whips.
- Boyars, and we will give a gingerbread. Dear, and we will give a gingerbread.
- Boyars, her teeth hurt. Darlings, her teeth hurt.
- Boyars, and we will reduce to the doctor. Dear, and we will reduce to the doctor.
-Boyars, she will bite the doctor. Dear ones, she will bite the doctor.
The first command completes:
- Boyars, don't play the fool, give us the bride forever!
The one who was chosen as the bride must scatter and break the chain of the first team. If he succeeds, then he returns to his team, taking with him any player first. If the chain is not broken, then the bride remains in the first team, that is, she gets married. In any case, the losing team starts the second round. The task of the teams: keep more players

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CHAPTER 1. Fundamentals of the traditional choreographic culture of the Evenk people.

§ 1. Analysis of cultural-historical and socio-ethnic aspects of traditional choreographic culture.str.

§ 2. Folklore as the Universe in the figurative system of choreographic culture.str.

§ 3. Traditional costume and national musical instruments.p.

§ 4. Ritual culture and traditional plastic arts.str.

CHAPTER 2. Socio-pedagogical activity for the preservation of traditional choreography.

§ 1. Structure and social functionality of traditional dances.p.

§ 2. The use of the genre diversity of Evenki dances in the educational and pedagogical process.str.

§ 3. The main directions of experimental socio-pedagogical activities for the preservation and development of the choreographic heritage.str.

Introduction to the thesis (part of the abstract) on the topic "Preservation of the choreographic culture of the Evenki people in social and pedagogical activities"

Dissertation conclusion on the topic "Theory, methodology and organization of socio-cultural activities", Kaplin, Nikita Sergeevich

List of references for dissertation research Candidate of Pedagogical Sciences Kaplin, Nikita Sergeevich, 0 year

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