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The role of folklore in human life Performed by: Polina Ziganshina, Vlad Krivonogov, Olga Savinova, students of grade 4 A of State Budgetary Educational Institution Secondary School No. 30 in Syzran. Work leaders: Natalya Gennadievna Zarubina, primary school teacher.
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Currently, the issue of revival is acute folk traditions in Russia. Due to this great importance devoted to folklore. Folklore is a special area poetic art. It reflects centuries historical experience of people.
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Relevance: is it worth talking about folklore today? We think it's worth it. IN modern world, where new toys and computer programs for children are created every day, many have simply forgotten about the importance of folklore for the education and development of schoolchildren. We have always been interested in the following questions: why, when grandmothers and mothers sang lullabies to us, did we quickly fall asleep? Why does our mood improve when we sing and listen to ditties? Why are the words of jokes so easy to remember? Why are people's teasing not offensive? Therefore, for the study we chose the topic: “The role of folklore in human life”
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Purpose of the study: to study folklore genres and explore the influence that folklore has on the development and upbringing of children. Research objectives: to study the genres of oral folk art; consider the significance of various forms of folklore in a child’s life; conduct and describe practical research, summarize the results obtained;
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Our hypothesis: oral folk works are not in demand in the modern world, although their influence on the development of schoolchildren’s education is positive. Objects of research: folklore. Subject of research: forms of folklore.
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Ritual folklore Calendar folklore – reflects folk holidays, appeal to nature: our ancestors turned to Mother Earth and other deities, asking her for protection, good harvest and grace. Family folklore that described life from the moment of his birth
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Non-ritual folklore 1. Folklore drama 2. Folklore poetry 3. Folklore prose 4. Folklore of speech situations.
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Acquaintance with folklore begins from the first days of a person’s life. Mothers sing lullabies for newborns. These are songs that lull a child to sleep. The words in them are gentle, melodious, and there are no harsh sounds. Such songs most often feature cooing ghouls, homely swallows, and a comfortably purring cat. These songs talk about peace and quiet.
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And then songs - pestles - appeared. Pestushka is a short poetic sentence of nannies and mothers, which accompanies the movements of a child in the first months of life. Then the very first games begin - nursery rhymes. A nursery rhyme is a saying song that accompanies the play of a child’s fingers, arms and legs.
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The child can already speak. But he still doesn’t get all the sounds. This is where tongue twisters come to the rescue. A tongue twister is a short poem in which the words are specially chosen to be difficult to pronounce. Children's spells preserve the memory of the prayer requests of our forefathers. Calls are songs in which children turn to the forces of nature with some request. The serious, economic basis of spells was forgotten, only fun remained.
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Children's spells preserve the memory of the prayer requests of our forefathers. Calls are songs in which children turn to the forces of nature with some request. The serious, economic basis of spells was forgotten, only fun remained. Sentences are short poems that children pronounce on various occasions, for example, when addressing living creatures - a snail, a ladybug, birds, pets.
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All primitive peoples had a ritual of initiating boys into full members of the clan - hunters. The child had to show intelligence and intelligence in solving riddles. A riddle is a short allegorical description of an object or phenomenon. Counting books also help develop correct speech. This is a fun, mischievous genre. If during the game you need to choose a driver, counting rhymes are used.
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I remember the words of A. S. Pushkin: “What a delight these fairy tales are!” It is through them that a person learns the world. These are not just funny or instructive, scary or sad fictional stories. In fact, these seemingly simple stories contain deep meaning. folk wisdom, a person’s idea of the world and his people, of good and evil, justice and dishonor.
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When meeting with librarian Arifulina Nina Vasilievna, we asked her a question: “Do students of our school often take books with works of oral folk art to read?” Nina Vasilyevna answered us: “Unfortunately, not often, only when asked in literature lessons.”
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With the question “What place does the study of works of oral folk art occupy in the literature curriculum?” we turned to the teacher of Russian language and literature, Elena Valentinovna Gulyaeva. The answer pleased her. Studying folklore takes significant place in a programme. We asked: “Why is it that a small proportion of students turn to books from school library? Elena Valentinovna answered that many students get information on the Internet, many children have books in their home library.
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In the modern world of high information technologies in a person's life there is less and less space left for him traditional culture. Globalization is gradually blurring the boundaries not only between countries, the same processes occur within any multinational state between different ethnic groups and peoples.It is all the more interesting and pleasant to note what began in last years the rise and development of national self-awareness as a unique response to the trends of the times. We talked about this, in particular, with a guest who visited the KS editorial office this week.
Our colleague, journalist of radio "Kabardino-Balkaria" Bulat Khalilov, almost from the threshold, stated that in youth environment peoples North Caucasus A remarkable trend has emerged - a revival of interest in one's own culture.
And one of the positive aspects of this process is that through knowledge of the identity of one’s people, one can come to better mutual understanding between different ethnic groups. “When you discover your native culture, you understand that every culture is interesting in its own way,” noted our guest.
This is not the first time Bulat comes to Kalmykia. A couple of years ago, he and a friend managed to work with the famous French ethnographer and documentarian Vincent Moon on big project O musical culture a number of Russian regions, among which was our republic.
The experience of communicating with a Western European independent director was not in vain; moreover, according to Bulat, it was then that the idea of his own path was formed. Our guest admitted that, in his opinion, all the large-scale, serious work on the Russian tour of the French documentarian was just the tip of the iceberg. This means that it is simply necessary to take a close look at the problem of popularizing the traditional culture of chants. This is how the non-profit project Ored Recording appeared.
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The active stage of the project began a little over six months ago, in March, when he, together with his friend and colleague Timur Kozdokov, began traveling around the cities and villages of Kabardino-Balkaria and “collecting folklore in the field.” And the geography of travel of this mobile group of “amateur researchers” expanded very quickly. Behind a short time The guys managed to visit several North Caucasian republics of Russia, as well as Abkhazia and South Ossetia. The accumulated materials, after processing and sound purification, have made it possible to release five albums. Today, the recordings can be listened to for free on the project’s website on the Internet, as well as on social networks.
According to Bulat, "amateurism" and lack of special education in terms of ethnographic research, this is rather a plus rather than a hindrance to the work, since it allows you to look at the process with a “clean eye.” In addition, the goal of the Ored Recording project differs from the desire of scientists to accumulate materials in archives without worrying about the quality of records; for science, the main thing is that the text can be parsed.
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And the mission that the guys set for themselves, on the contrary, involves creating audio content that is easy to listen to. So that as much as possible more people was able to get acquainted with traditional songs peoples of the North Caucasus. Moreover, today there are still many bearers and performers of folklore in the republics, but, as a rule, these are elderly people, so it is very important to do as much as possible to preserve and develop the song cultural heritage.
The project website should become a full-fledged database, information platform, where anyone can join the living song culture. Therefore, each album is designed in a special way. In addition to the audio recordings themselves, song lyrics are also published in three languages: Russian, English and the native language. In addition, it is given brief information about the place where the recording was made and about the performer. Until now, there was not a single full-fledged resource like this on the Internet, and searching for these very carriers of folk art took too much time.
Bulat admitted that he hopes to collect enough material during his current visit to Kalmykia and release a full-length album by the end of this year. Meetings with several performers have already been scheduled folk songs, everything needs to be done in just a few days.
Over time, there is generally a constant problem; it is greatly lacking, since you have to deal with your non-profit project in addition to your main job, specially adjusting your schedule and vacation in order to travel to this or that republic.
"We want to bring folklore back into the musical environment so that people know that folk music“This is exactly what’s cool to listen to,” Bulat Khalilov emphasized.
Garya UBUSHIEV, Kalmykia Today
Photo by Alexey TYURBEEV
What is modern folklore and what does this concept include? Fairy tales, epics, legends, historical songs and much, much more are the heritage of the culture of our distant ancestors. Modern folklore must have a different appearance and live in new genres.
The purpose of our work is to prove that folklore exists in our time, to indicate modern folklore genres and to provide a collection of modern folklore compiled by us.
In order to look for signs of oral folk art in modern times, you need to clearly understand what kind of phenomenon this is - folklore.
Folklore is folk art, most often oral; artistic collective creative activity people, reflecting their life, views, ideals; created by the people and poetry, songs, and also applied crafts existing among the masses, art, but these aspects will not be considered in the work.
Folk art, which originated in ancient times, is historical basis throughout the world artistic culture, source of national artistic traditions, spokesman national identity. Works of folklore (fairy tales, legends, epics) help to recreate character traits folk speech.
Folk art everywhere preceded literature, and among many peoples, including ours, it continued to develop after its emergence along with and alongside it. Literature was not a simple transfer and consolidation of folklore through writing. It developed according to its own laws and developed new forms, different from folklore. But its connection with folklore is obvious in all directions and channels. It is impossible to name a single literary phenomenon whose roots do not go back to the centuries-old strata of folk art.
A distinctive feature of any work of oral folk art is variability. Since works of folklore have been transmitted orally for centuries, most folklore works have several variants.
Traditional folklore, created over centuries and which has come down to us, is divided into two groups - ritual and non-ritual.
Ritual folklore includes: calendar folklore (carols, Maslenitsa songs, freckles), family folklore (family stories, lullabies, wedding songs, etc.), occasional (spells, chants, spells).
Non-ritual folklore is divided into four groups: folklore drama (Petrushka theater, vetepnaya drama), poetry (ditties, songs), folklore of speech situations (proverbs, sayings, teases, nicknames, curses) and prose. Folklore prose is again divided into two groups: fairy tale (fairy tale, anecdote) and non-fairy tale (legend, tradition, tale, story about a dream).
What is "folklore" for modern man? This folk songs, fairy tales, proverbs, epics and other works of our ancestors, which were created and passed on from mouth to mouth once upon a time, and came down to us only in the form of beautiful books for children or literature lessons. Modern people They don’t tell each other fairy tales, don’t sing songs at work, don’t cry or lament at weddings. And if they compose something “for the soul,” then they immediately write it down. All works of folklore seem incredibly far from modern life. Is it so? Yes and no.
Folklore, translated from in English, means “folk wisdom, folk knowledge.” Thus, folklore must exist at all times, as the embodiment of the consciousness of the people, their life, and ideas about the world. And if we do not encounter traditional folklore every day, then there must be something else, close and understandable to us, something that will be called modern folklore.
Folklore is not an immutable and ossified form of folk art. Folklore is constantly in the process of development and evolution: Chatushki can be performed to the accompaniment of modern musical instruments on modern themes, folk music can be influenced by rock music, and itself contemporary music may include elements of folklore.
Often the material that seems frivolous is “new folklore”. Moreover, he lives everywhere and everywhere.
Modern folklore has taken almost nothing from the genres of classical folklore, and what it has taken has changed beyond recognition. “Almost all the old ones are becoming a thing of the past. oral genres- from ritual lyrics to fairy tales,” writes Professor Sergei Neklyudov (the largest Russian folklorist, head of the Center for Semiotics and Typology of Folklore at the Russian State University for the Humanities).
The fact is that the life of a modern person is not connected with the calendar and the season, so in the modern world there is practically no ritual folklore, we are left with only signs.
Today, non-ritual folklore genres occupy a large place. And here there are not only modified old genres (riddles, proverbs), not only relatively young forms (“street” songs, jokes), but also texts that are generally difficult to attribute to any specific genre. For example, urban legends (about abandoned hospitals, factories), fantastic “historical and local history essays” (about the origin of the name of the city or its parts, about geophysical and mystical anomalies, about celebrities who visited it, etc.), stories about incredible incidents, legal incidents, etc. The concept of folklore can also include rumors.
Sometimes, right before our eyes, new signs and beliefs are formed - including in the most advanced and educated groups of society. Who hasn’t heard about cacti that supposedly “absorb harmful radiation” from computer monitors? Moreover, this sign has a development: “not every cactus absorbs radiation, but only those with star-shaped needles.”
In addition to the structure of folklore itself, the structure of its distribution in society has changed. Modern folklore no longer carries the function of self-awareness of the people as a whole. Most often, the bearers of folklore texts are not residents of certain territories, but members of the same sociocultural groups. Tourists, Goths, paratroopers, patients of the same hospital or students of the same school have their own signs, legends, anecdotes, etc. Each, even the smallest group of people, barely realizing their commonality and difference from all others, immediately acquired their own folklore. Moreover, the elements of the group may change, but the folklore texts will remain.
As an example. While camping around the fire, they joke that if girls dry their hair by the fire, the weather is bad. During the entire hike, the girls are driven away from the fire. Having gone on a hike with the same travel agency, but with completely different people and even instructors a year later, you can find that the sign is alive and they believe in it. The girls are also driven away from the fire. Moreover, counteraction appears: you need to dry your underwear, and then the weather will improve, even if one of the ladies still broke through wet hair to the fire. Here we can see not only the emergence of a new folklore text in a certain group of people, but also its development.
The most striking and paradoxical phenomenon of modern folklore can be called network folklore. The most important and universal feature of all folklore phenomena is their existence in oral form, while all online texts are, by definition, written.
However, as Anna Kostina, deputy director of the State Republican Center of Russian Folklore, notes, many of them have all the main features of folklore texts: anonymity and collectivity of authorship, variability, traditionality. Moreover: online texts clearly strive to “overcome writing” - hence the widespread use of emoticons (which allow one to indicate intonation) and the popularity of “padon” (intentionally incorrect) spelling. Funny nameless texts are already widely circulated online, absolutely folkloric in spirit and poetics, but unable to live in a purely oral transmission.
Thus, in modern information society folklore not only loses a lot, but also gains something.
We found out that in modern folklore little remains of traditional folklore. And those genres that remained have changed almost beyond recognition. New genres are also emerging.
So, today there is no longer any ritual folklore. And the reason for its disappearance is obvious: the life of modern society does not depend on the calendar, all ritual actions that are an integral part of the life of our ancestors have come to naught. Non-ritual folklore also distinguishes poetic genres. Here you can find urban romance, yard songs, ditties on modern themes, as well as such completely new genres as chants, chants and sadistic poems.
Prosaic folklore has lost its fairy tales. Modern society makes do with already created works. But there remain anecdotes and many new non-fairy tale genres: urban legends, fantastic essays, stories about incredible incidents, etc.
The folklore of speech situations has changed beyond recognition, and today it resembles more of a parody. Example: “Whoever gets up early lives far from work,” “Don’t have one hundred percent, but have one hundred clients.”
It is necessary to single out a completely new and unique phenomenon - online folklore - into a separate group. Here you can find the “padon language”, and online anonymous stories, and “chain letters” and much more.
Having done this work, we can confidently say that folklore did not cease to exist centuries ago and did not turn into Museum exhibit. Many genres have simply disappeared, while those that remained have changed or changed their functional purpose.
Perhaps in a hundred or two hundred years, modern folklore texts will not be studied in literature classes, and many of them may disappear much earlier, but, nevertheless, new folklore is a modern person’s idea of society and the life of this society, its self-awareness and cultural level. Characteristics of various social groups working population of Russia mid-19th century left by V.V. Bervi-Flerovsky in his book “The Position of the Working Class in Russia.” His attention to the peculiar features of the life and culture of each of these groups is revealed even in the very titles of individual chapters: “Tramp Worker”, “Siberian Farmer”, “Trans-Ural Worker”, “Mining Worker”, “Mining Worker”, “Russian Proletarian” " All of these are different social types representing the Russian people in a specific historical situation. It is no coincidence that Bervi-Flerovsky considered it necessary to highlight the characteristics of the “moral mood of workers in industrial provinces,” realizing that in this “mood” there is a lot specific signs, distinguishing it from the “moral mood”<работника на севере», а строй мыслей и чувств «земледельца на помещичьих землях» не тот, что у земледельца-переселенца в Сибири.
The era of capitalism and especially imperialism brings new significant changes in the social structure of the people. The most important factor, which has a huge impact on the entire course of social development, on the fate of the entire people as a whole, is the emergence of a new, most revolutionary class in the history of mankind - the working class, whose entire culture, including folklore, is a qualitatively new phenomenon. But the culture of the working class must also be studied specifically historically, in its development, its national, regional and professional characteristics must be taken into account. Within the working class itself there are different layers, different groups that differ in the level of class consciousness and cultural traditions. In this regard, V. I. Ivanov’s work “The Development of Capitalism in Russia” remains of great methodological importance, which specifically examines the various conditions in which the formation of working class detachments took place in industrial centers, in the industrial south, in the environment of a “special way of life” in the Urals .
The development of capitalist relations in the countryside breaks the rural community, splits the peasantry into two classes - small producers, some of whom are constantly proletarianized, and the rural bourgeois class - the kulaks. The idea of a single supposedly peasant culture under capitalism is a tribute to petty-bourgeois illusions and prejudices, and an undifferentiated, uncritical study of peasant creativity of this era can only strengthen such illusions and prejudices. The social heterogeneity of the people in the context of the struggle of all the democratic forces of Russia against the tsarist autocracy and serfdom remnants for political freedom was emphasized by V. I. Ivanov: “... the people fighting the autocracy consists of the bourgeoisie and the proletariat.” From the history of society it is known that the social structure of the people who carried out the anti-feudal revolution in England, France, the Netherlands, Germany, and Italy was just as heterogeneous. It is also known that, taking advantage of the national gains, the bourgeoisie, having come to power, betrays the people and itself becomes anti-people. But the fact that at a certain stage of historical development it was one of the constituent elements of the people could not but affect the nature of the folk culture of the corresponding era.
Recognition of the complex, constantly changing social structure of a people means not only that the class composition of the people is changing, but also that the relationships between classes and groups within the people are developing and changing. Of course, since the people are made up primarily of the working and exploited masses, this determines the commonality of their class interests and views, the unity of their culture. But, recognizing the fundamental commonality of the people and seeing, first of all, the main contradiction between the exploited masses and the ruling class, as V.I. emphasized. Ivanov, “demands that this word (people) not cover up a misunderstanding of class antagonisms within the people.”
Consequently, the culture and art of the people in a class society, “folk art” is class in nature, not only in the sense that it opposes the ideology of the ruling class as a whole, but also in the fact that it itself is complex and sometimes contradictory in nature. its class and ideological content. Our approach to folklore therefore involves the study of the expression in it of both national ideals and aspirations, and the not entirely coinciding interests and ideas of individual classes and groups that make up the people at different stages of the history of society, the study of reflection in folklore as contradictions between the entire people and the ruling class , and possible contradictions “within the people.” Only such an approach is a condition for a truly scientific study of the history of folklore, embracing all its phenomena and understanding them, no matter how contradictory they may be, no matter how incompatible they may seem with the “ideal” ideas about folk art. This approach serves as a reliable guarantee against the false romantic idealization of folklore and against the arbitrary exclusion of entire genres or works from the field of folklore, as happened more than once during the reign of dogmatic concepts in folklore studies. It is important to be able to judge folklore on the basis not of speculative a priori ideas about folk art, but taking into account the real history of the masses and society.
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folklore national tradition
Introduction
1. History of collecting and studying folk art
2. Collective and individual principles in folklore
3. Stability and changeability of folklore works
4. Problems of traditions in modern folklore
5. Preservation and development of folklore traditions
6. Classic folklore in modern life
Conclusion
Literature
Introduction
Folklore is an integral part of every nation, and it manifests itself both in oral and poetic form and in spiritual form. Over the course of many centuries, various folklore genres, rituals, customs, and beliefs were created and passed on from generation to generation. Nowadays it is becoming increasingly difficult to find those people who would talk about all this; who remembered how their ancestors lived; what songs were sung, etc.
Modern folklore centers are engaged in activities aimed at the revival, preservation and development of Russian folklore, folk traditions, trades and crafts, the dissemination and popularization of works of folk art.
In modern socio-cultural conditions, the realization of the potential of Russian traditional culture contributes to the positive dynamics of spiritual and moral development, which is manifested in the enrichment of value orientation, the growth of ethno-artistic interests and cognitive activity, an increase in the level of intellectual development, and the development of artistic and creative abilities of children and adults.
The life of children is closely connected with the life of adults, but the child has his own vision of the world, determined by age-related psychological characteristics.
The child's judgment, like his practical thinking, has a character that is primarily practical - sensual. The sensual nature of a child's body is the first connection that connects him with the world.
Young children perceive all the diversity of the world differently than adults. At first, a child’s thought is associated only with specific images.
The peculiarities of the child's psyche determine the choice of poetic images, the entire composition of children's folklore, and artistic creativity.
Poetic works for many centuries, passed on from one generation to another, gradually acquired content and form that most fully corresponded to the laws of children's aesthetics.
Children's creativity contains the key to understanding adult psychology, children's artistic tastes, and children's creative potential.
Folk artistic creativity is a specific area that unites the world of children and the world of adults, including a whole system of poetic and musical-poetic, as well as artistic genres of folk art.
The development of vision, artistic vision is the main task of joining folk art.
A child in the world of art must live in two intersecting spaces. One space is a children's space, with its games and children's creativity. Another world of adult art.
Examples of adult art are not always easy to understand. And the child should feel the gap that exists between children's and adult art. Over time, he develops the ability to respond to the emotional tonality of adult works.
1 . StorygatheringAndstudyingfolkartisticcreativity
At the beginning of the 19th century, thinking Russia faced an acute problem of the culture of the people, their spiritual wealth, and the question of the social significance of people's life.
Many researchers turned to the folklore heritage of the people. A. Glagolev, who wrote about the beauty and innocence of rituals that reveal the simplicity and naivety of Russian people, is attracted by the songs associated with the ritual of sun worship and the cult of trees.
Children's fairy tales were allocated to a special group for the first time. In those years, many understood the pedagogical value of folk art.
Through the sieve of centuries, the people have sifted their cultural heritage, leaving the most valuable in folk art, artistic crafts, folklore, and decorative and applied arts.
Folk art is an inexhaustible source of aesthetic, moral, and emotional education.
For many centuries, folk wisdom, contained in fairy tales, nursery rhymes, jokes, and riddles, has fostered in children pride in the talent of the common people, interest in well-aimed, expressive words, and love for their native language.
2. CollectiveAndindividualstartedVfolklore
Unlike literature - the individual creativity of writers - folklore is a collective creativity. However, this does not mean that the individual principle does not have any significance in it.
In certain genres and in certain historical periods, the individual principle manifests itself quite noticeably, but it is in peculiar connections with the collective principle.
Folklore arose in ancient times as a mass collective creativity. Early forms of folklore were distinguished by the fact that they were dominated by the collective composition and performance of works. At that time, the creative personality did not stand out much from the team.
Later, individual talented singers began to play an increasingly important role, who in all their creativity expressed the ideas and views of the clan or tribe, and then the people.
Even in the early forms of folklore, and naturally, even more so in the later ones, individual creativity was organically connected with the collective and developed on its basis.
Collectivity in folklore is manifested in the external forms of creativity, and in its internal essence, and in the process of creating works, and in their performance.
It is expressed in the fact that the creators and performers of works rely on general folklore experience and tradition and at the same time introduce new features and details into the work, adapting its plot, images and style to specific performance conditions.
Works can be created by a collective (choir, group of people) or by individuals - singers and storytellers.
If they correspond to the needs and tastes of the collective, the people, then they begin to exist among them and are performed in the choir by individual singers.
The collectivity of folklore is expressed in the fact that individual folklore works are recognized as the common property of the people; they live for a long time and are passed on from generation to generation.
But each performer can change the work in accordance with his creative intent.
In various genres of folklore, the collective and individual principles in the creation and performance of works are manifested in different ways: if songs are usually performed by a choir, collectively, then epics and fairy tales are performed individually.
If the text of the spells is very stable, then the text of the lamentations is very flexible; as a rule, it is largely improvised - created, as it were, anew on new material.
But this individual improvisation is carried out according to long-established patterns, on the basis of collectively developed means of artistic expression.
Chatushki are usually works composed by persons known in the village. They show more individuality than in works of other genres of folklore.
The individual principle, as well as the collective one, takes place at all stages of the development of folklore.
It takes on diverse forms of expression and shows a tendency not to fade away, but to intensify and intensify in the process of the historical evolution of folklore.
3. SustainabilityAndchangeabilityfolkloreworks
Traditionality in folk art is expressed in the relative stability of the verbal text, chant, nature of performance, colors, the transfer of works, as a rule, without significant changes from generation to generation, the preservation over the centuries of works with certain plots and characters, forms and expressive means.
Tradition, like the collectivity of creativity, is characteristic not only of verbal folklore. It is also inherent in other types of folk art - music, dancing, carving, embroidery.
Tradition has its own socio-historical foundations and is determined by important life circumstances.
These conditions and circumstances are:
Firstly, folk art originated in the primitive communal system, when social forms of life, folk life and ideas were very stable, which determined the stability of folklore.
But, having developed at this time, the tradition was supported by a certain stability of life forms in later periods of history. Due to changes in the very nature of life, the tradition was gradually weakened.
Secondly, works of folk art deeply reflect the most important features of reality and capture important objective qualities of man and nature.
This can be said not only about proverbs, the life generalizations of which have been preserved for centuries and will continue to be preserved for a long time, but also about songs that characterize the spiritual world of man, his universal human properties, thoughts, feelings and experiences.
Thirdly, folk art embodied the principles of folk aesthetics and reflected folk artistic tastes that have been developed over centuries. They are valuable because they embody the objective laws of beauty.
Fourthly, the works of folklore themselves are significant artistic achievements. They satisfy people's ideological and aesthetic needs and serve as an important part of the spiritual culture of the people for a long time.
The conditions listed above serve as the basis for the traditional nature of folk art and the great stability of folk works.
4. ProblemstraditionsVmodernfolklore
Among the many problems of modern folklore, the problems of tradition are perhaps the most significant and complex. They cause long-term debates, at times turning into organized discussions. However, even today this topic cannot be considered exhausted; rather, on the contrary, the further the development of folklore goes, the greater its relevance. Moreover, the relevance is not only of a theoretical nature, but even more of a practical one, connected with the everyday life of modern folk artistic crafts.
Traditionality is generally recognized as one of the specific features of folk art. There is extensive literature about traditions in folklore and folk crafts. But it usually does not contain a definition of the very concept of “tradition”; different researchers put different content into it. Some scientists (V.S. Voronov, V.M. Vasilenko, T.M. Razina) understand traditionality of folk art mainly as the antiquity of its images, forms and techniques, the stability of their preservation and continuity in development.
Such a point of view emphasizes one side of tradition - the connection of folk art with the past, its roots, ancient sources, without which it is generally impossible to understand this phenomenon of human culture...
Absolutizing one side of tradition, some scientists see only the past in the traditions of folk art and conclude that this art is inert, backward, and lacks connections with modernity. A supporter of such views is M. A. Ilyin. Analysis and criticism of his point of view can be the subject of a special article. In this regard, we will limit ourselves to just noting that M. A. Ilyin understands by tradition its particular moments: plots, motives, techniques, forms, coloring of works of specific folk crafts, outside the organic whole into which all these particulars merge at a certain time and in each of the crafts, creating the original features of local folk art.
Such a narrow understanding of traditions could not but lead to their denial as a path along which one can go “forward with one’s head turned back.” Based on the incorrect understanding of the development of art in general only as progressive, evolutionary, mixing such different concepts as folk and folk art, its nationality, Ilyin comes to the wrong conclusion about the conservatism of the art of folk crafts, marking time, about the only possible path for them - absorption art industry, leveling in a single so-called “modern style” of decorative and applied art.
Such views attracted justified criticism twenty years ago. It occupies many pages in the works of A. B. Saltykov, an outstanding theorist of Soviet applied art, who made a great contribution to the study of issues of tradition6. Saltykov understood traditions as a dialectical phenomenon, connected not only with the past, but with the present and future. He constantly emphasized the direct connection of traditions with modern Soviet art, analyzed the movement and development of traditions, which, in his opinion, lie not in the formal features of the art of a given craft and not in their mechanical sum, but in the integrity of the figurative artistic system of the craft and its historical development .
Saltykov’s thoughts on the need for a historical approach to the concept of style in folk art are relevant. “... Every style,” he wrote, “is an expression of the spiritual state of the people of its time... a people does not stop in its development... it is constantly changing... and changes in artistic style are inevitably associated with these changes.”
A. B. Saltykov brilliantly confirmed the correctness of his theoretical positions on issues of tradition through the example of practical work with the masters of Gzhel.
Nowadays, the ideas and thoughts of A. B. Saltykov are repeated and developed in a number of articles by M. A. Nekrasova. She rightly believes that tradition is deeply meaningful, that it is a deeply internal phenomenon. The basis of tradition is the correct attitude towards the national heritage. Heritage is all the art of the past. Everything that has lasting value passes into tradition. This is the experience of the people, something that is capable of living in a new way in modern times.
In the broad sense of the word, there are no phenomena outside of tradition. Nothing is born out of nowhere, without mastering the experience of the past. Traditions are a kind of engine of cultural progress, those organic features of various aspects of life that are selected, preserved and developed by generations as the best, typical, familiar. But traditions are not something given once and for all, frozen, motionless, not a synonym for the past or something similar to the past. The dialectical unity of the past, present and potential future inherent in tradition is perfectly expressed in the definition given by the outstanding Russian composer I. F. Stravinsky. And although he was based on the analysis of musical works, he expressed the essence of the concept of tradition in its broad and objective content.
There are no traditions in general, but there are traditions of a specific sphere of human activity among a specific people, in a specific place and in a specific era. Meanwhile, the life and development of tradition, the concrete historical approach to its analysis are often ignored and not taken into account.
Tradition is a multi-layered concept. Traditions permeate all phenomena of life, everyday life, production, economics, culture, art, in each area having their own specificity in content and manifestation. There are significant differences in the manifestation of traditions in art in general and in folk art in particular.
Traditions of collective creativity live in folk art. These traditions have evolved over centuries and have been refined by many generations of people. The blood connection of folk art with the life, work, and everyday life of the people determined the historical continuity of the traditions of folk culture, the formation of not only nationwide, national traditions, but also their local manifestations in peasant creativity and folk crafts. The traditions of peasant art, due to the well-known conservatism of the way of life and a special commitment to patriarchal antiquity, developed slowly, evolutionarily. Many of these traditions have become a thing of the past along with the environment and living conditions that gave birth to them, for example, the traditions of ancient Slavic mythology, which gave birth to images of many types of peasant art and a whole layer of folk embroidery ornaments.
The creation of a style and the formation of traditions of the art of craft were influenced by many factors, some more indirectly and, as it were, elusively in external manifestation, others - clearly and directly influencing the nature of art and the structure of the artistic image.
A specific historical approach to the analysis of all factors involved in the creation and development of folk crafts shows that their role at different stages of the development of the craft and at different times could be ambiguous.
5. PreservationAnddevelopmentfolkloretraditions
The transfer of craft skills from generation to generation, the creative process of making products under the guidance of adults contributed to the consolidation of positive emotions, the desire to learn and master the specifics of craftsmanship, and the formation of initial ideas about folk art.
The concept of heritage, tradition in teaching artistic creativity has always been and still is important. The most valuable product of labor is considered to be one that has accumulated not only individual creativity, but also the hereditary experience of previous generations, learned in the process of practical actions.
The most stable and viable part of culture is tradition, opposed to innovations, on the one hand, and enriched by them, on the other. With the interaction of tradition and innovation, multiple traditions do not die out, but gradually change, taking on the form of innovations. Traditional culture is a sphere of concentration of a certain collective experience of the past and the birth of innovations that ensure the adaptation of traditional cultural norms to the changing conditions of existence of an ethnic group. Thanks to innovative
elements there are changes in tradition.
Traditional folk culture is not only the basis for the spiritual unity of the people, but also a cultural and educational institution of the modern individual. It retains a unique property in modern life. In traditional culture there are no creators and consumers.
The creative potential inherent in traditional culture is used in modern society in working with children and youth. It is traditional culture that can become a means of adapting a person to the contradictory life of modern society, where there is a long overdue need to create a leisure space for the transfer of socio-cultural experience, built on the principles of the traditional (a meeting place for generations). This is not about creating, for example, new folklore groups focused on the stage embodiment of folklore, but about creating inter-age associations where folklore becomes a means of communication and self-realization, where a folklore environment is created for joint celebrations. Despite the fact that traditional forms of culture in the modern world are deeply transformed, nevertheless, folk art remains the inspirer of modern quests in all areas of culture.
Within the framework of the traditional culture of the Russian people as a spiritual integrity, a number of unique regional traditions are emerging, the existence of which is noted by collectors and researchers.
The study and preservation of regional traditions, the search for new ways of transmitting traditional culture in modern society is relevant in the field of culture and education.
Within the framework of the projects, seminars on the problems of studying folklore in schools and international scientific and practical conferences are organized annually and step by step.
In the process of implementing the project, a systematic description of the existence of verbal and musical genres is used.
As a result of the research, a description of the active genres of folklore is carried out, the active genre composition of verbal folklore is highlighted in terms of its adaptation to the age characteristics of students and educational standards.
The study of regional folklore involves continuous comparative analysis, which helps to develop not only imaginative, but also rational thinking. Compliance with the principles will make it possible to realize the unity of training, education and development in the development of folk culture in its regional manifestations.
Getting to know the traditional culture of peoples living together in the same territory fosters respect for other cultural traditions. With the help of folklore classes, a folklore-ethnographic environment is created; there is continuity of cultural traditions in holding public mass holidays together with adults. An understanding is fostered that the people around them are carriers of folklore tradition in varying amounts of its content.
Comparing the traditional and modern models of folk holidays, one can notice the desacralization and transformation of holidays into a mass spectacle; the form gradually changes due to the replacement of the attributive components of the ritual with modern ones; the content changes, a new poetic and mythological background of the ritual, new symbolism is born; the form, content, and time canons are simultaneously transformed, which leads, in essence, to the birth of a new phenomenon. The modern model of traditional calendar and family holidays is becoming secondary.
It remains important for various centers to comprehend and transmit traditional folk culture from generation to generation; development of the youth folklore movement in the region (in all directions); combining the efforts of ethnographers, philologists, musicians; attracting interest in traditional culture among professionals and lovers of folk art.
Accumulated and systematized folklore and ethnographic materials, observations and generalizations concerning the patterns of traditional culture have not only local, but also general scientific significance.
With the support of the Government, a comprehensive program is being implemented aimed at promoting traditional culture.
Festivals remain an integral part of activities for the preservation, study and further development of folklore traditions.
The “scientific component” is gradually strengthening; scientific and practical conferences are held annually within the framework of the Days of Slavic Literature and Culture.
In the context of globalization, traditional culture is often attacked as conservative and inconsistent with the spirit of the times, but it is in it that the basic values of the people are concentrated. The traditional experience of generations, understanding the essence of traditions, and therefore cultural norms, behavioral stereotypes, knowledge and experience, customs and habits, upbringing, religious beliefs are needed today for transformations in both public and private life. And their correct interpretation, correct understanding gives us a path and hope in arranging modern society.
The problem of studying the factors of preserving traditional culture is complex and is the subject of research in cultural studies, sociology, ethnography, linguistics, folklore and other sciences.
6. ClassicalfolkloreVmodernlife
In modern life, people continue to exist due to their simplicity, digestibility, ability to undergo various transformations without compromising the content - some genres of classical folklore - fairy tales, proverbs, sayings, sayings, signs.
Some of them, for example, folk tales, children's lullabies, fulfill the same role - educational, educational, entertaining. True, if some lullabies, for example, or proverbs are still transmitted orally, then fairy tales, as a rule, are read to children from books.
Other genres of folklore, for example, folk natural signs, have lost their original functions. In modern conditions, folk weather predictions often do not work because the natural environment has changed and the ecological balance has been disrupted. In addition, the forms of assimilation and transmission of folk signs have changed. A modern urban person becomes familiar with them, for example, by reading a tear-off calendar or listening to radio programs aimed at reminding people of traditional folk culture. Functioning and being transmitted in this way, folk signs acquire a different cultural meaning. In modern everyday culture, folk signs move into the sphere not even of memory, but rather of reminders, into the sphere of the curious. They are retold to friends and neighbors, but they are also very quickly forgotten - until the next reminder.
And in the villages, traditional folk signs have largely lost their vital necessity and relevance for successful agricultural work. Here, on the one hand, there is an obvious need for scientific weather forecasts - in connection with climate change, on the other hand, new signs are being developed based on personal experience and observations. As a result, the sign, as one of the forms of folk knowledge, has been preserved, but its content and place in the everyday culture of people have changed significantly.
Traditional signs and folk superstitions (the belief that certain phenomena and events represent a manifestation of supernatural forces or serve as an omen of the future) have reached our time and fully exist in the ordinary mass consciousness. It is difficult to find a person who has not said out loud at least once in his life that spilling salt means a quarrel, hiccups mean someone is remembering, meeting a woman with an empty bucket is unlucky, and breaking dishes means happiness. Signs are a fairly striking example of the existence of elements of traditional ethnoculture in modern culture. Everyday, repeated behavioral situations and the everyday commentary that accompanies them are easily and effortlessly passed on “inherited” from generation to generation.
Conclusion
At present, the enormous role of musical folk art in the art of each country has long been recognized. Folk art found its most vivid and complete expression not in purely instrumental music, but in combining melody with words - in song. The song, which originated in its most primitive form many thousands of years ago, has steadily developed and evolved in close connection with the development of the culture of the people themselves, their way of life, language, thinking, which are reflected in both the lyrics and tunes. A collection of folk songs is the main result of the thousand-year history of most peoples.
It is necessary to carefully preserve the property and take care of its survival. Preserve the treasures of folk musical culture, make them accessible to the general public, professional and amateur performing groups, provide additional material for the creativity of composers, as well as for pupils and students of special educational institutions.
Folk art helps not only ethnographers to better understand the life, culture, and way of life of our ancestors, but also children who can only imagine it.
Love, respect, and pride for folk art are gradually formed under the influence of the surrounding atmosphere.
This complex feeling arises and develops in the process of accumulating knowledge and ideas about the nature of the native land, about work and relationships between people. It is necessary to talk about the origins of folk art in an accessible form.
Through familiarization and education of folk art, children become acquainted with the work of adults, learn to respect it, and learn the simplest skills; interest, independence, and the ability to work are fostered.
The use of various materials, aids, toys, paintings, works of folk art helps to perceive and reproduce the most striking features of the artistic image.
Introduction to folk art and its influence is felt in cases where children depict the world that is known to them from folk art.
To fill your free time with interesting and meaningful activities, you need to develop a desire for beauty, cultivate respect for folk traditions and cultural values.
Literature
1. Bogatyrev P.G., Gusev V.E., Kolesnitskaya I.M. and others. “Russian folk art”, Moscow 2000.
2. Gusev V.E. Aesthetics of folklore. L., 1999
3. Zhukovskaya R.I. “Native Land”, Moscow 1999
4. Kravtsov N.I., Lazutin S.G. “Russian oral folk art”, Moscow 2003
5. Lazutin S.G. “Poetics of Russian folklore”, Moscow 2005
6. Putilov B.N. "Folklore and folk culture." - St. Petersburg, 2003
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In 5th grade we studied children's folklore. I became interested in lullabies and wrote a research paper about them. Another genre of folklore that attracted my attention is counting rhymes. In the modern world, children know few rhymes, and the children's subculture is becoming impoverished. That is why I wanted to know the history of counting rhymes, their development and the reasons why counting rhymes are gradually fading into the background in children's folklore.
My main goal was to compare the role of counting rhymes in different times and in our days. I saw my tasks as follows:
1. study scientific literature on this topic;
2. collect rhymes (in scientific literature, in the play activities of modern schoolchildren);
3. analyze the collected material;
4. draw conclusions.
The original hypothesis was that children these days know few counting rhymes, and most of them are meaningless. I was able to find an explanation for this in the scientific literature. During the work, I became convinced that the hypothesis was correct and that a large number of educational and educational rhymes created by children's authors were not known to children and were not used in games.
In my work I used the following methods:
1. analysis, synthesis of the collected material;
2. observation of games of primary school students;
3. survey of respondents.
A total of 118 people were interviewed, of which 20 were young children, 58 people aged 7-8 years, 25 people aged 9-10 years, 10 people aged 13-15 years, 5 older people.
19 people remember 3 or more counting rhymes, 27 people remember 2 counting rhymes, 72 people remember 1 counting rhyme.
But, unfortunately, the overwhelming majority (67% of respondents) name first of all the rhyme that is far from being of the most moral nature (“. I took a knife out of my pocket. I will cut, I will beat.”). Children have heard and read original rhymes, but they hardly use them in games because they don’t remember them by heart (only 0.8% of respondents named them). 20% of respondents know rhymes that are interesting in a cognitive or moral sense, while 74% know those that are meaningless or not morally interesting. Only 19 people had counting rhymes with humor. character (. leniya, the overwhelming majority (67% of respondents) name first of all the counting rhyme as far from being the most moral
2. The role of folklore in human life.
The magical kingdom of folk art is immense. It has been created for centuries. There are many varieties in oral folk poetry (or folklore, as international science calls this poetry). Translated into Russian, the English word “folklore” means “folk wisdom”, “folk art” - everything that the spiritual culture of the working people has created over the centuries of its historical life. If we read and think deeply about our Russian folklore, we will see that it really reflected a lot: our native history, the play of folk imagination, cheerful laughter, and deep folk thoughts about human life. People thought about how to improve their lives, how to fight for a happy life, what a good person should be, and what character traits should be condemned and ridiculed.
Numerous varieties of Russian folklore - epics, fairy tales, proverbs, calendar refrains, riddles - all this arose and was repeated, passing from mouth to mouth, from generation to generation, from father to son, from grandmothers to granddaughters. Often, performers added something of their own to a favorite text, slightly changing individual images, details and expressions, quietly honing and improving the song or fairy tale created before them.
3. Children's folklore. Its genres, moral influence.
Children's folklore is a vast area of oral folk art. This is a whole world - bright, joyful, filled with vitality and beauty. Children look with interest at the lives of adults and willingly borrow their experience, but recolor what they have acquired. Children's thoughts are connected with specific images - this is the key to the secrets of children's artistic creativity.
Folklore for children, created by adults, includes lullabies, pestushki, nursery rhymes, jokes, and fairy tales. This area of folk art is one of the means of folk pedagogy.
Both children and adults are also well aware of counting rhymes, teasers, tongue twisters and other genres of children's folklore, which are generally considered empty fun. In fact, without these cheerful and funny poems, without the verbal games that they contain, a child will never master his native language perfectly, will never become its worthy master, capable of expressing any thoughts, feelings and experiences.
Counting tables, draws, songs and sentences included in the games together make up gaming folklore.
Counting books - short rhymes used to determine the leader or distribute roles in a game - are the most common genre of children's folklore.
Telling or listening to rhymes gives children great pleasure. Not every child can become a good “counter.” Firstly, he must have a tenacious memory, artistry, and secondly, he must certainly be honest.
The fact is that counting rhymes are a way of implementing objective justice that has been invented for children since ancient times. It is as if fate itself, and not the authority of an adult (or the ringleader of a child), controls the distribution of roles. And if this is so, then winning the game with happiness and luck depends on the player himself. The child in the game must be resourceful, smart, dexterous, kind and even noble. All these qualities in a child’s consciousness, soul, and character are developed by the rhyme.
4. The main artistic features of counting rhymes.
Counting rhymes have two main features. Firstly, most counting rhymes are based on counting, and secondly, the counting rhymes amaze with a pile of meaningless words and consonances. Why did people need the distorted form of words and what was hidden under the habit of using a mysterious counting?
People have a whole group of ancient concepts and ideas associated with counting. It can be assumed that in the old days, when entrusting someone with a common task, people showed extraordinary caution in numbers. Will the person completing the assignment be happy or unhappy? Before hunting or other fishing, the score decided a lot. A person with an unlucky number could, according to people’s ideas, ruin the whole business. This is the purpose of the ancient recount. This function has been preserved in residual form in children's games.
The simplest form of counting rhymes and, apparently, the most ancient one, can be considered “naked” counting. Because of the ban on counting, people had to use conventional forms when counting. Thus, residents of the Irkutsk province were forbidden to count killed game, otherwise there would be no luck in the future; Russians living in Transbaikalia were forbidden to count geese during the flight. The prohibition of counting was a great inconvenience, and people came up with the so-called “negative” counting: a negative particle was added to each numeral: not once, not twice, etc. It turned out that there was no counting. This is the purpose of the distorted form of counting. People also hid the drawing of lots - the recount necessary when distributing the roles of participants in the fishery. Recount - the prototype of the newest forms of counting rhymes - was given a conventional verbal form that was understandable to the people of this group. This is the origin of “abstruse” counting, an example of which is the children’s counting rhyme.
Over time, breaking away from prohibitions and belief in numbers, the counting counter began to develop in its own special way. New, purely artistic elements were introduced into it. Distorted words began to be invented in consonance with the old ones, without any connection with the conventional allegorical speech of antiquity. The formation of new words in counting rhymes lost its former meaning and often took the form of pure nonsense.
Nonsense could not live long in folklore, and meaningful scattered phrases and individual words began to penetrate into the rhyme. Some kind of content was woven from the words, and soon “plot” provisions appeared.
One of the main features of the counting rhymes is a clear rhythm, the ability to shout all the words separately. For children aged 5-6 years, this gives special pleasure due to the constant demand of adults to “not make noise.” Hearing the rhythmic pattern of a counting rhyme and obeying it is not an easy skill. It is acquired by children only through play. The more exciting the game, the more desirable it is for the child to be chosen, the more keenly the children listen to the rhythm of the counting rhyme.
This whole funny poem is built on onomatopoeia - another feature of rhymes. Remember the rhyme “Aty-baty, the soldiers were coming.” Its clear rhythm resembles the step of a soldier's company.
5. Classification according to content, artistic features, moral meaning.
The most common type of folk counting is intended directly for calculating the players. If you need to determine who is driving when playing hide and seek or tag, then they count like this.
A large group of counting rhymes indicates those who will participate in the game. The last one left after the calculation drives.
This type of counting rhyme includes those where there is no direct verbal indication of the driver or a way out of the calculation. It is replaced by the last expressive word. In this group, meaningless rhymes with an absurd plot and sound combination stand out.
The next group of counting rhymes - gaming - is intended for both calculation and play. It is these counting rhymes that end with questions, tasks, instructions and other requirements.
The requirements of the counting rhyme are varied and rarely repeated. For example, in the rhyme “They sat on the golden porch. ” you need to correctly answer the question “Who are you?”
To win, you need to remember exactly where the calculation began, quickly count your place in the circle and shout out the desired word or number. Then the re-calculation will have to be on you, and not on someone else.
There are counting rhymes where the winner, by calculation, gives his right to leave the circle to a friend, and he remains for new tests.
I would like to pay special attention to the author’s literary rhymes. They are intended mostly for reading, not calculation. They offer both a child and an adult an intellectual game - to recognize its folk prototype in a rhyme, to grasp the features of similarity and difference, the irony of the author in moments of attraction and repulsion from a folklore model.
The author's counting rhyme is always action-packed, dynamic, full of bright pictures replacing each other, and thus resembles a nursery rhyme. The poet’s task is to captivate the child with the action so much that he wants to “finish” the line himself, to predict what will happen next. And the master’s talent is to make the child make mistakes and rejoice at his mistake, because the poet came up with something more interesting, witty, and fun.
What groups are counting rhymes divided into in scientific literature?
In the monograph by G. S. Vinogradov “Russian children's folklore. Game Preludes”, a classification of children's folklore, in particular counting rhymes, based on vocabulary, was undertaken. Vinogradov classified verses containing counting words (“one, two, three, four, we were standing in the apartment”), “abstruse”, distorted counting words (“primary-druginchiki-druginchiki, little pigeons were flying”) and equivalents of numerals (“the first ones-druginchiki-druginchiki-druginchiki-flying-lilyubinchiki”) and equivalents of numerals (“one, two, three, four, we stood in the apartment”) as counting numbers. anzy, dwanza, three, kalynza"). Vinogradov classified counting rhymes as abstruse, consisting entirely or partially of meaningless words; to substitute counting rhymes - poems that do not contain either abstruse or counting words.
This classification remains relevant to this day.
The material we have collected allows us to make additions to this classification.
In terms of content, we found the following groups:
1. Counting books with a moral meaning, educational. They teach truthfulness, kindness, caution and obedience.
2. Educational rhymes that broaden your horizons. From them, the child gains knowledge about the world around him, about its inhabitants, nature, and phenomena.
3. Unfortunately, we also had to deal with counting rhymes that contain indecent language.
In total, we collected 72 rhymes, of which 9% are rhymes with a moral meaning, 26.5% are educational rhymes, 19% are meaningless, 1.5% are immoral, 31% are rhymes with meaning but do not teach anything, 7% - counting rhymes with a humorous form, 6% - with a poetic form.
6. Conclusions on the topic.
When we started work, we assumed that a typical modern child knows fewer rhymes than people of the older generation, since children play less in groups without adult supervision. Scientists say that today we can state the fact that the children's subculture is becoming impoverished.
But the data we received literally surprised us. A total of 118 people were interviewed, of which 20 were young children, 58 people aged 7-8 years, 25 people aged 9-10 years, 10 people aged 13-15 years, 5 older people.
Out of 98 people, 19 people remember 3 or more counting rhymes, 27 people remember 2 counting rhymes, 69 people remember 1 counting rhyme, and 3 people don’t remember a single one.
It turned out that people of the older generation (they played more), as well as younger schoolchildren, remember the counting books most of all, because for them it is a living genre.
But, unfortunately, the overwhelming majority (67% of respondents) name first of all the rhyme that is far from being of the most moral nature (“. I took a knife out of my pocket. I will cut, I will beat.”). Children have heard and read original rhymes, but they hardly use them in games because they don’t remember them by heart (only 0.8% of respondents named them). 20% of respondents know rhymes that are interesting in a cognitive or moral sense, while 74% know those that are meaningless or not morally interesting. Only 19 people had counting rhymes with humor.
We believe that our research allows us to draw conclusions about the lack of attention of educators to joint children's games and to the promotion of the best folklore and original rhymes among young children.