Anastasia Mashnova
Article "Children's folklore"

Children's folklore

The child's first acquaintance with oral folk creativity begins with folklore works. Lullabies are the first to enter the life of a little person, and then other forms. folklore. As a rule, at the beginning of life a child gets acquainted with small genres folklore, accessible to his perception. Fairy tales, songs, proverbs, rhymes, nursery rhymes, tongue twisters have always been inextricably linked with experience folk pedagogy.

Acquaintance of a person with works of art, with the best examples of oral folk creativity should begin from the first years of his life, since the period of early and preschool childhood– a defining stage in the development of the human personality. The age of up to five years is the richest in a child’s ability to quickly and greedily learn. the world, absorb a huge amount of impressions. It is during this period that children, with amazing speed and activity, begin to adopt the norms of behavior of those around them, and most importantly, to master the means of human communication - speech.

Folklore influences the formation of moral feelings and assessments, norms of behavior, the education of aesthetic perception and aesthetic feelings, promotes the development of speech, provides examples of the Russian literary language, enriches the vocabulary with new words, figurative expressions, helps the child express his attitude to what he has heard, using ready-made language forms .

Thus, folklore is an important means of forming a child’s personality and speech development, a means of aesthetic and moral education children.

The richness of the Russian language is revealed to the preschooler in the works of oral folk art . Its examples - proverbs, riddles, fairy tales and others - the child not only hears, but repeats and assimilates. Genres are included in children's language in accessible content. Living spoken language and oral works folk creativity - are closely intertwined in influencing the child’s speech.

Works of oral folk creativity are included in children's folklore.

Children's folklore- these are works of traditional folklore of adults, moved to children's repertoire; works created by adults specifically for children and adopted by tradition. General generic characteristic children's folklore– correlation of literary text with the game.

Folklore provides an opportunity for children to get acquainted with the rich creative heritage peoples. Each folklore form, be it a riddle, a proverb, a joke, a counting rhyme, a nickname, a fairy tale or a fable - an amazing example of creativity, fertile material for imitation, memorization and reproduction in the speech of children. These samples develop figurative children's speech, broaden the horizons of children.

Ancestral roots of many forms children's folklore go deep into history. Among them, nicknames and sentences are perhaps the most ancient. They are born of faith in the forces of nature and are called upon to use the magic of words in order to evoke the beneficial influence of natural elements or prevent their destructive power.

Calls are small songs designed to be sung by a group of children. Many of them are accompanied by game actions.

The call is not just an appeal to natural elements, but feelings expressed in words, rhythm, intonation - experience, admiration, tenderness, delight.

Oh, you rainbow-arc.

You're tall and tight!

Just like rain, rain,

We've been waiting for you for a long time.

Sentences – one-on-one communication with nature. Sentences addressed to home life, to everyday activities. In fact, all living things that surround the child are not ignored.

Ladybug, fly to heaven!

That's where your kids eat cutlets!

A sentence built on the principle of a request-wish sets the child up for a respectful attitude towards every plant in the forest, field, and garden.

Sentences during games are a kind of requests to nature for complicity, for kind help. They face the wind, water, stream. They contain the rules of the game that are necessary for all players, often preventing accidents. For example, do not choke when diving, do not get water in your ears. They teach children to be attentive to their actions, to check their actions with rules, and to strictly follow them.

In the genre system children's folklore occupies a special place "the poetry of nurturing", or "mother's poetry". This includes lullabies, nursery rhymes, nurseries, jokes, fairy tales and songs created for the little ones.

Lullabies: adults noticed which words and tunes children fell asleep to better, repeated them, memorized them, and passed them on to the next generations. The words were usually affectionate and melodious. Such songs most often feature cooing ghouls, homely killer whales, a purring cat, and talk about silence and peace. In ancient lullabies, certain living creatures are mentioned, each of them has its own responsibilities.

To the sounds of their affectionate, melodious words, the baby will wake up easier, will allow himself to be washed or fed:

Water, water,

Wash my face

To make your eyes sparkle,

To make your cheeks blush,

To make your mouth laugh,

So that the tooth bites.

Pestushki (from the word "nurture"- educate) are associated with the earliest periods of child development.

You can hear love and kindness in the pestles. They are foldable and beautiful. And they also teach the baby, he listens and looks where his leg is, where his mouth is.

Then the very first games begin, nursery rhymes: A horned goat is coming, Magpie-crow is cooking porridge, Ladushki. Here, along with pleasure, the child also receives benefits.

TO popular Tongue twisters also belong to creativity, but they mainly were and remain the favorite game of the elder preschool age.

Tongue twisters are the rapid repetition of difficult to pronounce words. Pronunciation mistakes make children laugh. While playing, children simultaneously develop their articulation organs. Tongue twisters with complex and rich sound design are especially popular. Tongue twisters, or pure twisters, teach how to pronounce sounds, develop speech organs and memory.

Four turtles have four turtles.

IN Everyday life Communication with a child is often accompanied by jokes. These are small, funny works or statements, often in poetic form. Just like many other small folklore joke genres accompany games. Often jokes have a dialogical form, which also emphasizes their closeness to live spoken language. Typically, they describe a short, fun, action-packed situation. In general, jokes develop a child’s creative imagination and, by involving him in a verbal game with a quick change of events, teach him to think quickly and imaginatively.

Petya-Petya-Cockerel,

Petya - red scallop,

He walked along the path

And I found a penny

I bought myself boots

And the chicken - earrings!

A growing child becomes not only the object of all kinds of games, but also their active participant. At this time he meets another folklore genre - counting rhymes. By opening the game and assigning certain roles to all its participants, the counting rhyme organizes the game process itself and teaches children to communicate with each other in a given situation and obey the established rules. In addition, counting rhymes develop a sense of rhythm.

The bees flew into the field,

They buzzed, they buzzed,

The bees sat on the flowers,

We play - you drive!

A new way of exploring the world is becoming riddles - brief allegorical descriptions of objects or phenomena. A riddle is a question that a child has to answer, and there is hardly anything that stimulates the mental activity of a little person as much as this small work of verbal art. The riddle is based on one of the most expressive artistic techniques - metaphor.

Glass house on the window

With clear water

With stones and sand at the bottom,

And with a golden fish.

(Aquarium)

By solving a riddle, a child discovers new properties of familiar objects, learns to compare objects and phenomena with each other, and to find similarities and differences between them. In this way, he organizes his knowledge about the world.

Using small forms folklore you can solve almost all problems of speech development methods and, along with basic methods and techniques speech development preschoolers can and should use this rich material of verbal creativity people.

Thus, thanks to popular creativity, the child enters into the world around him more easily, feels the beauty of his native nature more fully, and assimilates ideas people about beauty, morality, gets acquainted with the customs and rituals of his people. Leads with amazing teaching talent people a child from simple nursery rhymes, riddles, sayings, etc. to complex poetic images of fairy tales; from lines that are amusing and soothing to situations that require the little listener to exert all his mental strength.

Children's folklore is a specific area of oral artistic creativity, which has its own poetics, its own form of existence, and its own speakers. Children's folklore is closely connected with the folklore of adults, it depends on its environment, the genre system, and all the processes to which adult folklore is subject are one way or another reflected in children's folklore. A common feature of children's folklore is the correlation of artistic text with the game.

History of the study of children's folklore

The term Children's folklore appeared in the mid-20s of the 19th century. There are several points of view on what material should be limited to the concept of children's folklore. One of the points of view is offered by Onikin. He refers to D.F. creativity of adults for children, creativity of adults that over time has become childish, and children's creativity in the proper sense of the word. The collection of children's folklore began in the first half of the 19th century. It is associated with the names of Sakharov, Tereshchenko, Avdeeva. They collected and published some genres of children's folklore. It was at this time that researchers identified children's creativity as a separate section of folk poetry. Since the 60s of the 19th century, teachers have turned their attention to children's folklore. In 1867, a book for children was published. Native word» Ushinsky, which included various genres of children's folklore: fairy tales, songs, riddles, jokes, tongue twisters and proverbs. Children's folklore becomes part of the child's reading circle. In 1868, Bessonov’s book “Children’s Folklore” was published, which influenced the subsequent collection and publication of children’s folklore. In the process of systematization D.F. and its theoretical understanding begins at the beginning of the 20th century.

The first researcher who attempted to classify children's folklore was Vinogradov. Since the 30s of the 20th century, there has been a decline in collecting and research work on children's folklore. Only in 1957 Anikin’s work “Russian folk proverbs, sayings, riddles and children’s folklore” was published. The first generalizing work on D.F. belongs to Melnikov “Russian Children's Folklore”. In it, he examines in detail the origin and genre classification within.

Currently, the following areas of folklore for children are distinguished:

Poetry of nurturing (maternal poetry). Lullabies, ditties, jokes...
Children's play folklore. Counting table, drawing lots
Folklore of word games. Slashes, silences,
Children's calendar folklore. Calls, sentences.

Nurture poetry - this genre refers to the creativity of adults for children. This includes lullabies, jokes... They are associated with upbringing, care and caring for them. Lullabies help to put a child to sleep. Their origin goes back to magic spells and conspiracies. This is confirmed by a typical conspiracy agreement with another world. They are promised an offering, and in return they ask for sleep and well-being for the child. In lullabies there is such a feature as an appeal to animals: cats, cats, chicken. After the adoption of Christianity, images of angels and saints appear, who are called upon for help and blessing. There are also texts in which they wish a child to die. This is explained by the fact that this is how they try to deceive the diseases that torment the child. They are one of the traditional forms of protective magic.

Lullabies have a composition: Bayu-bayu, then a plot part mentioning the child’s name and the ending logically completes the song. Traditional lullabies are usually divided into 2 groups: narrative (about the child himself, about objects, animals, birds) into imperative (a wish (for health, etc.) is expressed)

Pestushki from the word nurture, nurse, carry, educate. Associated with the most early period child development (up to one year) help establish emotional contact with adults. In form, pestles represent a complex sentence or a simple common one. They are laconic and use paired or internal rhyme.

Nursery rhymes– songs accompanying a child’s games with adults (ladushki, magpie-crow)

Jokes– This is a small funny piece of work, a statement or a separate rhymed expression. These are small, elementary fairy tales with a basic plot.

Children's play folklore. This is a very large group of verbal works that do not have independent meaning, but are included as components in such verbal education as a children's game. In children's play folklore, two groups of verbal texts can be distinguished: play preludes (counting tables, etc.) and a group of texts “verbal play texts: play sentences (silences, cuts, holosyankas) and refrains, etc.

The draw determines the division of the players into 2 teams. Her role is to establish order in the game. These are laconic, sometimes rhyming works addressed to group leaders. And a question that offers a choice for the game teams. When creating drawings, children often improvised based on fairy tales, proverbs, sayings and riddles.

Counting tables are short poems for assigning roles in a game. They are based on counting. Many are completely meaningless. The senselessness and “abstruseness” is explained by the fact that they came from adult folklore.

Game sentences and refrains are small works for organizing the game. They contained echoes of ancient ritual games. The game action inherited its forms, rules and order from the ancient pagan games in honor of Kostroma, Kolyada and Veril. In games, children depicted family life and the labor activities of the village. Echoes of paganism are preserved in the games Kostromushka, Smoking Room, and the Sun-Golden Gate. Folklore of verbal games is classified as gaming folklore. These are bitches, silences, teases, tongue twisters.

Chops are poems accompanied by a blow to a tree with a cutting object. The texts of the cuts contain an encrypted account. One of the rarest and most ancient genres of folklore. They are associated with the process of learning to count. Rhythmic units - the number of blows on a tree.

Silent - a short poem for the game. One of the children begins to read a text with comic content. Usually during the game I tried to make the students laugh or offend them so that someone would laugh and talk.

Golosyanka. The essence of the game is that children compete to see who can sustain the sound the longest without taking a breath. The texts began with a seed (a small rhymed piece) They were performed in chorus and without pauses. The first one to remain silent is the loser

Nonsense - songs or poems in which everything is turned upside down. Thanks to shapeshifters, children developed a sense of the comic. Laughing at the absurdity, the child strengthens himself in the correctness of the already correctly received idea of the world.

Tongue twisters are verbal exercises for quickly pronouncing phonetically complex phrases.

Teasers are short, mocking poems that ridicule this or that quality or are simply tied to the child’s name. It is believed that they came from an adult environment and grew out of nicknames and nicknames. Later, rhyming lines were added to the nicknames and teasers were formed. They make fun of cowardice, laziness, greed, arrogance, drunkenness (for adults), but there are also reasonsless ones.

There were excuses for teasing.

Calendar folklore (calls and sentences) they were introduced by Vinogradov

Calls - call, call. These are the cries of children addressing various forces of nature. They were usually shouted out in chorus and in chants. A similar genre existed among adults, but it was magical in nature. Remnants of magic are preserved in logical problem and denote some kind of agreement with the forces of nature.

Sentences are appeals to living beings, pronounced by each child one by one. They are characterized by imitating the singing of a prita or the voice of an animal. In some cases it is a game of deception with the subject of the appeal, in others it is a childish threat or a sound tease. Or a sentence of good luck.

Modern genres of children's folklore. They were formed in the mid-20th century under the influence of a complex of social factors. Modern researchers of childhood culture are trying to explain the reason for their appearance. One of the reasons is that most children have become city dwellers, and in their development there remains an invariable need to go through the stage of vivid experiences of the inexplicable and miraculous, which causes a feeling of fear and the need to overcome it. The horizons of modern children are shaped by urban life and the media. This is how the horror story appears. Horror stories are verbal games for children aged 6-7 years with elements of mysticism and fantasy. They use motifs of death, dead people, ghosts, etc. Horror stories function according to all the rules of folklore: traditions are consolidated and passed on from mouth to mouth. They are told by children of all ages. Most typical from 8 to 12 years. The genre of senior summoners is original (How to summon Baba Yaga). The purpose of the challenges is to overcome fear. Horror stories have everything from folklore.

The system of images of horror stories breaks down into: the leader, his assistants and opponents. In horror stories, fantasy is evil. There are negative images associated with it.

Sadistic poems. They use an element of absurdity and grace. Even in the image family relations, games, everyday life.

Workshop for educators

"Children's folklore and its classification"

Children's folklore is a unique phenomenon in its diversity: a huge variety of genres coexist in it, each of which is associated with almost all manifestations of a child’s life. Each genre has its own history and purpose. Some appeared in ancient times, others - quite recently, those are designed to entertain, and these are to teach something, others help little man get your bearings in the big world...

Children's folklore is part of folk pedagogy; its genres are intuitively based on taking into account the physical and mental characteristics of children of different age groups (infants, children, adolescents).

Children's folklore has preserved traces of the worldview of different eras and expressed the trends of our time.

The artistic form of children's folklore is specific: it is characterized by its own figurative system, a tendency towards rhythmic speech and play. Play is an element psychologically necessary for children. Works of children's folklore are performed by adults for children (mother's folklore) and by the children themselves (children's folklore itself).

Maternal folklore includes works created by adults for playing with very young children (up to 5-6 years old). They encourage the child to stay awake and perform physical actions (with a certain movement), and arouse interest in the word. Folklore, performed by the children themselves, reflects their own creative activity in words and organizes the play activities of the children's group. It includes works by adults passed on to children and works composed by children themselves.

Pestushki, nursery rhymes, lullabies, jokes, fables - shapeshifters - this is the so-called maternal poetry. It is intended for the little ones and enters a child’s life literally from the first days.
Pestushki (from “to nurture” - “to nurse, raise, educate”) are short rhythmic sentences that accompany various activities with a baby in the first months of his life: waking up, washing, dressing, learning to walk. For pestles, both content and rhythm are equally important; they are associated with physical and emotional development the child, help him move and create a special mood.
Awakening:
Cockerel, cockerel,
golden comb,
Oil head,
Silk beard,
That you get up early
Don't you let the kids sleep?

Stretches:
Stretch, stretch,
Hurry, wake up quickly.
Washing:
Okay, okay,
Wash your little paws with soap.
Clean palms
Here's some bread and spoons for you.
Dressing:
Our Katya is little,
She's wearing a scarlet fur coat,
beaver edge,
Katya is black-browed.
Feeding:
Gray hedgehog
Baked a pie
fox fox
I brought the rolls,
Old man boar
I poured a jug of honey,
They go to call Mashenka.

Growing up, the baby gets acquainted with nursery rhymes - short play sayings. By listening, repeating and memorizing rhymed lines, the child masters the simplest movements and gestures, learns to speak, think, communicate with others, and express his emotions.

Okay, okay!
Where were you?
- By Grandma!
- What did you eat?
- Porridge!
- What did you drink?
- Mash.
Sweet mash,
Grandma is kind.
We drank, ate,
Shu, let's fly!
They sat on their heads!
We sat down, we sat,
They flew away!

Magpie Crow
Cooked porridge
She fed the children
Gave this one
Gave this one
Gave this one
Gave this one
But she didn’t give it to this:
"Small, small, not good!
You didn't bring any water.
Shoo, let's go!"

The horned goat is coming,
There's a butted goat coming -
For the little guys
Legs stomp stomp.
Eyes clap-clap.
Who doesn't eat porridge?
Who doesn't drink milk?
He's gored
It's goring, it's goring!

Jokes - these are songs or rhymes that captivate the child with their content. The content of the jokes is bright and dynamic. The jokes contain the first edifications: the stubborn goat was eaten by wolves, the little kitty - the little mouse did not leave butter to treat another...

However, the main role of jokes is educational. The child learns about people, animals, phenomena, objects, and their typical properties. This is often based on cumulative plots: fire burns the forest, water extinguishes the fire, bulls drink water, etc.

Folk songs, nursery rhymes, and nursery rhymes are also excellent speech material that can be used in classes to develop the speech of preschool children. Thus, when forming the grammatical structure of speech, teaching children the formation of cognate words, it is possible to use. For example, a nursery rhyme about “bunny”, where the same root words will be: bunny - bunny, gray - gray.

With their help, it is possible to develop phonemic awareness, since they use sound combinations - tunes that are repeated several times at different tempos, with different intonations, and are performed to the tune of folk melodies. All this allows the child to first feel and then realize the beauty of his native language, its brevity, familiarize him with this form of expressing his own thoughts, and contributes to the formation of preschoolers’ figurative speech and children’s verbal creativity.

And-ta-ta, and-ta-ta,
A cat married a cat,
For the cat Kotovich,
For Ivan Petrovich.

Ay, dudu, ah, dudu,
The man lost his arc.
The man lost his arc
Behind the woodpile in the corner.
I rummaged and rummaged - I couldn’t find it,
So he cried and left.

Don, don, don!
The cat's house caught fire.
A chicken runs with a bucket -
Flood the cat's house.

We ran into a jackdaw
Robbers,
They took it off the jackdaw
Blue caftan.
Nothing to tick
Walk around the city.
The jackdaw is crying
There's nowhere to get it.

How did the cat get into the habit?
To grandma Marya's cellar
There is sour cream and cottage cheese.
How did you see the cat?
Kids from the window
They slammed the window
Let's run after the cat.
They grabbed the cat
Across the stomach.
- That's it, little kitten,
And sour cream and cottage cheese.

In out-of-game children's folklore we see not only the genres we noted earlier (sayings, songs, etc.), but also some new ones (witticisms, jokes, teases, tongue twisters, etc.).

One of the varieties of jokes is fables - shapeshifters, such songs or poems in which the real connections of objects and phenomena are deliberately displaced and broken. In folklore, fables exist both as independent works and as part of fairy tales. At the center of the fable is a obviously impossible situation, behind which, however, it is easy to guess correct position things, because the shapeshifter plays out the simplest, well-known phenomena.
“Every fable will come in handy in three years,” says a popular saying. Here is what K. Chukovsky wrote about this: “In such poems, incorrect coordination of things only contributes to the establishment of the correct one, and through such fiction we confirm children in their realistic idea of the world.” It was Chukovsky who introduced the term “shifter” and thoroughly explored this genre. He argued that fables are intended not only to entertain and amuse children, they are created “to stimulate the mental powers of the child,” as well as “to cultivate humor in the child.” “The favorite intellectual work of three- and four-year-old children is to expose fables, to confront them with real facts,” Chukovsky rightly notes.
Techniques of folk fables can be found in abundance in original children's literature - in the fairy tales of K. Chukovsky and P. P. Ershov, in the poems of S. Marshak. From the shapeshifter grows all the children's paradoxical and playful poetry of the 20th century. And here are examples of folk tales-shifters:

Where else have you seen this?
Where else have you heard this?
So that the hen gives birth to a bull,
The little piglet laid an egg...
So that the armless man robs the cage,
He put it in the bosom of the bare-bellied man,
And the blind man was spying,
And the deaf man was eavesdropping,
The tongueless "guard" shouted,
And the legless man ran in pursuit.

A village was driving
Past the man
Suddenly from under the dog
The gates are barking.
I grabbed the baton
The ax chopped
And for our cat
Ran through the fence.

If non-fiction folklore is intended for children younger age, then for children

For older ages, gaming folklore is intended. It is highlighted by almost all modern researchers, but each of them understands its content in their own way. G.A. Bartashevich attributes counting rhymes, game songs and sentences to it. V.A. Vasilenko adds pestles and nursery rhymes to them. He designates all other genres of children's folklore, including lullabies, as “poetry of word games.” He views children's games as a form that precedes children's folk drama.

Obviously, the playful beginning can be noted in all genres of children's folklore. If a particular genre is not associated with the child’s play actions, then the game is played at the level of meaning, concept, word, sound.

G.S. Vinogradov classifies all types of children's folklore as play folklore. role playing games and "game preludes". With this term, the researcher denotes counting rhymes, drawing lots, and sentences. He believes that verbal components "cannot be studied outside of the dramatic play of which they are a component."

To another group of texts by G.S. Vinogradov attributes amusing folklore. Its purpose is to entertain, amuse, amuse itself and its comrades. It includes “fun that is not associated with dramatic action”; their game basis is contained in words and auxiliary actions (slashes, holosyanki) or only in words (verbal games, flip-flops, tongue twisters, silent games, poddevki).

The researcher divided non-fiction folklore into three groups: satirical lyrics, calendar and everyday folklore. Each group included several genres. Calendar folklore included children's ritual songs, chants and sentences; for satirical lyrics - teases, teases; to everyday folklore - children's fairy tales, songs, riddles, horror stories.

Due to age characteristics and the nature of pastime, play folklore occupies a leading position in the oral folk art of children. Play has a special, exceptional significance in the lives of children. Children's games researcher V.F. Kudryavtsev wrote: “If play for adults is tolerable in principle, then for children it is so natural that it is childhood necessity. For adults, play is relaxation, but for a child, play is a serious activity to which he applies his weak strengths; For him, playing is hard work.” It is through play that children largely perceive the world around them. Play for children is an important way of cognition and learning. Children have always come up with a lot of different games.

Each game featured certain folklore forms: counting rhymes, game preludes, etc.

Game preludes are divided into two groups. Some set out the conditions for playing the game - and then the prelude consists only of a verbal work. Thissilences and voices.In other senses, preludes are in preparation for the game - in the distribution of roles or turns; then the verbal work is only a component, although the most important part of the prelude. These are draws and counters.

Silent - this is a poetic agreement to remain silent. But often its content is so comical that the children cannot withstand the agreement for long, and soon one of them will definitely laugh, to the considerable triumph of the others.

Chock, chock, chock,

Teeth on a hook

Who will say a word

There's a click in the forehead!

The cat died, the tail came off,

Whoever speaks will eat

Forty ladles of green snot.

The silence began - chok, chok!

Doors on a hook.

Draw sentences are short rhymed poems (two to four lines) with which games begin when the players need to be divided into two parties. They accompany such children's games as “Hide and Seek”, “Salki”, “Lapta”, “Gorodki”, etc. The simplest form of drawing lots consists of a question to the “uterus” (drivers). Two guys, stepping aside, agree that one of them will be called a black horse, and the other - a golden drum. Then, approaching the queens, they shout:

“Uterus, whoever you need:

Black horse

Ali golden drum?

One of the queens chooses the “black horse”, and the other chooses the “golden drum”. After this, another pair of players approaches the queens and, for example, asks:

"Pourable apple"

Is it golden?

Then the third pair, the fourth pair, etc., approach the queens with riddle questions. And so gradually all the players are divided into two parties.

The themes and images of the drawings are entirely determined by the everyday environment in which peasant children lived. Creating these miniatures did not present much difficulty for the children. They created the draws easily and with pleasure.

Especially great development in play children's folklore received the genre of counting rhymes. Counting book - these are short rhyming verses used by children to choose a leader, set a priority, or distribute roles in a game. They are slightly larger in size than the draw. Counters have 6, 8, 10 or more lines.

The counting book helps develop a sense of camaraderie and justice in children, develops a sense of rhythm necessary in song, dance, work, carries cognitive, aesthetic and ethical functions, and also, acting as a prelude in the game, promotes physical development children. By performing rhymes, the child learns to overcome conflicts and forms collective positive relationships.

The counting book is inherently songlike, but the main form of performance of the counting book is recitative with chanting. In terms of vocabulary, counting rhymes differ from any other genre of oral folk art and are divided into three lexical groups:

Counters - numbers;
Abstruse counting rhymes;
Replacement counters.

The first group of counting numbers contains numerals - quantitative and ordinal. The overwhelming majority of texts contain numbers of the first ten; they rarely violate this limit and introduce the names of the first six numbers of the second ten.

One, two - head,

Three, four - they sewed a dress,

Seven, eight - we mow the hay;

Nine, ten - weigh flour. (Sat. Vinogradova, Tulun)

But the counting rhyme not only pursues certain practical goals (establishes a sequence for the players), it often also has an undoubted poetic meaning. It may include various funny stories. For example, one of the players, touching the children one by one with his hand, says: “One, two, three, four,

Midges lived in the apartment,

A friend himself got into the habit of visiting them

The cross spider is a large spider.

Five, six, seven, eight,

We will ask the spider:

"You glutton, don't go"

Come on, Mashenka, drive!”

Whoever gets the word “Drive” becomes the driver.

The second group is formed by abstruse rhymes, i.e. a poem entirely or partially woven from abstruse words. Some words of some rhymes in this group, perceived by children as abstruse, are in fact distorted counting words.

Tantyh tantyh, you armor

Zekiel zekiel, zimzi

Are you Coco Rashmare?

Greenery white bouska. (Sat. Vinogradova, Tulun)

A large number of counting texts do not contain ordinary counting or abstruse words in which one might suspect numerals. The counting books of the third group, without knowing a better designation, can be called replacement counting books.

Straw, broken -

Shishel, he left.

Ani-bani - what is below us,

Under iron pillars?

Chair, boy, king,

Get into a corner. (Sat. Vinogradova, Tulun)

Vinogradov noted that counting rhymes not only give joy to their performers, they provide food for other streams of creativity; This small type of verbal works is included in works of large genres, attracting attention with an unexpected and elegant form and serving to connect the individual parts of the work. Not only numerals, but also other parts of speech can appear in distorted form in counting rhymes. Scientists trace the peculiarities of the abstruse language of counting rhymes to ancient conventional speech, to the taboo of counting (the prohibition of counting or pronouncing numbers). There were ancient beliefs that if a hunter counts the game he has killed, he will not have luck in the next hunt; if the housewife counts the chicken eggs, the chickens will stop laying eggs, etc. Therefore, direct counting was replaced by conditional counting, ordinary words - by their fictitious substitutes. The genetic connection between the abstruse language of counting rhymes and the ancient custom (counting taboos) is undeniable. However, in the rhymes that were recorded by folklorists in the 19th and 20th centuries, abstruse speech reflects not the superstitious ideas of children, but their desire to have fun with wordplay.

The word in many rhymes acts not so much as an exponent of a certain meaning, but as a carrier of the necessary rhythmic unit and rhyme. A counting book can be a simple set of words that have no meaning and therefore are incomprehensible. For example:

Eni, beni, Evu, shtevu,

Decks, packs, Kushtaneva,

Shor, bathory, Gam, fire

Shoes, century, Babaram.

The counting book helps develop a sense of camaraderie and justice in children, develops a sense of rhythm necessary in song, dance, work, carries cognitive, aesthetic and ethical functions, and also, by performing preludes in the game, promotes the physical development of children. By performing rhymes, the child learns to overcome conflicts and forms collective positive relationships.

Chock, chock, chock,

Teeth on a hook

Who will say a word

There's a click in the forehead!

* * *

Corollas, corollas,

Bells were flying

On the grass and on the dew,

On the other side.

Collected nuts

Honey, sugar -

And keep quiet!

* * *

The cat died, the tail came off,

Whoever speaks will eat

Forty barns of dry cockroaches,

Forty tubs of salted frogs,

Forty ladles of green snot.

The silence began - chok, chok!

Doors on a hook.

* * *

Well, come on guys

Who doesn't make it

Togo for the hair!

Draws

“Uterus, whoever you need:

Black horse

Ali golden drum?

* * *

Mother, and mother, what should I give you: oak or birch?

Mother, and mother, what should I give you: a barrel of lard or a Cossack with a dagger?

Counting books

Counting tables - numbers

One, two - head,

Three, four - they sewed a dress,

Seven, eight - we mow the hay;

Nine, ten - weigh flour.

* * *

"One two three four,

Midges lived in the apartment,

A friend himself got into the habit of visiting them

The cross spider is a large spider.

Five, six, seven, eight,

We will ask the spider:

"You glutton, don't go"

Come on, Mashenka, drive!”

Abstruse counting rhymes

Tantyh tantyh, you armor

Zekiel zekiel, zimzi

Are you Coco Rashmare?

Greenery white bouska.

Counters - replacements

Straw, broken -

Shishel, he left.

Ani-bani - what is below us,

Under iron pillars?

Chair, boy, king,

Get into a corner.

"Burn, burn clearly,

So that it doesn't go out,

Look at the sky-

The stars are burning -

The cranes are screaming.

Stay at your hem

Look into the field-

The trumpeters are riding there,

Yes they eat rolls

Gu, gu, gu, I’ll run away.”

Out-of-game children's folklore

Pestushki, jumping birds

Pulls, pulls, pulls,

Make Katya look smaller!

Grow up, daughter, healthy,

Like an apple tree!

Stretch on the cat,

For a growing child,

And in the hands there are grips,

And in the mouth there is a talker,

And to the mind!

* * *

Legs, legs,

Where are you running?

There's midges in the woods:

Mosh the hut,

So as not to live coldly.

* * *

We drove, we drove

To the city for nuts,

Over the bumps, over the bumps,

Yes, bang into the hole!

Squished forty flies!

Tyushki-tyutushki,

All souls are merry.

I'll lift Frolka

Up a steep hill

Bang! Rolled

Fell off the hill!

Nursery rhymes, jokes, shifters

Our daughter is in the house,

Like pancakes in honey,

Sweet apple in the garden.

* * *

Like our Vanya

One and a half hundred rubles sleigh,

Seven hundred horse -

With a gilded arc,

Another new bridle,

Bell and ring.

* * *

Because of the forest, because of the mountains,

Grandfather Egor was driving,

He's on a piebald cart,

On a creaking horse

Belted with an axe,

Boots are worn out,

On bare feet there is a sheepskin coat.

* * *

Early in the morning, in the evening,

Late at dawn

Baba was walking

In a chintz carriage.

And behind her at full speed -

With quiet steps

The wolf tried to swim across

A bowl of pies.

Someone looked at the sky -

There's an earthquake

For some reason the cat sneezed - tomorrow is Sunday.

Teasers

Andrey the sparrow!

Don't chase the pigeons

Chase the tick

From under the sticks;

Don't bite the sand

Don't dull your toes!

A sock will come in handy

Pecking the spikelet.

* * *

Valya, Valya, simplicity,

Sour cabbage!

Ate a mouse without a tail

And she said: “Delicious.”

* * *

Vanya, Vanya, simplicity,

I bought a horse without a tail!

Sat backwards

And I went to the garden.

* * *

Egorushka farrier

I shoed the cat's leg,

I went to get married -

Tied the trough.

The trough is dangling,

The wife smiles.

Ivan is talkative,

The milk was chatting -

Didn't blurt it out

And he drank it all.

The wife was baking a donut

She served him shish.

Tongue Twisters

Senya carries hay in the canopy,

Senya will sleep on the hay.

* * *

Arkhip shouted, Arkhip became hoarse.

Arkhip doesn’t need to scream until he is hoarse.

* * *

A quonka walks around the yard.

Leads children around cages.

* * *

Three little stoves are flying through three huts.

Calls, sentences

Rain, rain, more!

I'll take out the thicket

A crust of bread,

A small piece of pie.

* * *

Sunny, show yourself!

Red, gear up!

So that year after year

The weather gave us:

Warm summer

Mushrooms in birch bark,

Berries in a basket,

Green peas.

* * *

Oh you, rainbow-arc,

You're tall and tight!

Don't let it rain

Give us a bucket.

* * *

Aw, aw, aw,

Let's hear about spring:

March, March -

I'm glad to see the sun;

April, April-

Will open the door;

May, May -

Walk as much as you want!

* * *

ladybug,

Fly to a cloud

Bring us from the sky

To make it happen in summer:

There are beans in the garden,

There are berries, mushrooms in the forest,

There is water in the spring,

There is wheat in the field.

* * *

These, these peas,

Sow peas!

Be born, peas,

And large and white,

For everyone's amusement:

And I'm thirty myself

For all the guys.

* * *

You're a bor-borok,

Give me boxes of berries,

A box of mushrooms,

A bag of nuts.

Puzzles

Proverbs and sayings

White hands love other people's works.
Take care of your nose in the extreme cold.
Being a guest is good, but being at home is better.
IN home and the walls help.
Spring feeds the year.
Spring rain grows, and autumn rain rots.
The whole family is together - and the soul is in place.
Every vegetable has its time.
Friend is known in trouble.
Together - not burdensome, but apart - at least leave it.
IN winter cold everyone is young.
December ends the year and begins winter.
Friend is known in trouble.
A bad example is contagious.
When I eat, I am deaf and dumb.
Finished the job - go for a walk safely.
Where the needle goes, so goes the thread.
There is safety in numbers.
A bad soldier is one who does not dream of becoming a general.
Work and hands are reliable guarantees for people.
Fire is no joke.
A brave start is the same victory.
Let's sit next to each other and talk well.
A smile is the soul of the face.
A bargain is a bargain.
Smart speeches are pleasant to listen to.
The morning is wiser than the evening.
The scientist leads, and the unlearned follows.
Bread is the head of everything.
It’s good for a bird in a golden cage, and even better on a green branch.
Lunch is bad if there is no bread.
A bad peace is better than a good quarrel.
Wash yourself more often - don't be afraid of water.
The black country will give birth to white bread.
Skillful hands do not know boredom.
Cabbage soup and porridge are our food.
I’m not the sun, I won’t warm everyone.

Perhaps not every parent understands the meaning of the phrase “children’s folklore,” but they use this very folklore every day. Even at a very young age, children love to listen to songs, fairy tales, or just play pats.

A six-month-old baby has no idea what a rhyme is, but when the mother sings a lullaby or reads a rhymed count, the baby freezes, listens, becomes interested and... remembers. Yes, yes, he remembers! Even a child under one year old begins to clap his hands under one rhyme, and bend his fingers under another, not quite understanding the meaning, but still distinguishing them.

Children's folklore in life

So, children's folklore is poetic creativity, the main task of which is not so much to entertain children as to educate them. It is intended to demonstrate to the smallest citizens of this world the sides of good and evil, love and injustice, respect and envy in a playful way. With the help of folk wisdom, a child learns to distinguish between good and bad, respect, appreciate and simply explore the world.

To create a bright future for the child, parents and teachers combine their efforts and work in the same direction. It is very important that the educational process is properly organized both at home and in the educational institution, and the help of children's folklore in this situation is simply necessary.

It has long been noted that training in game form has greater success than many, even the most original techniques. Folk art is very close to children and, if chosen correctly for a particular age category, it is very interesting. With its help you can introduce children to art, folk customs and national culture, but not only! The role of folklore in the everyday communication of children among themselves is great (remember teasers, counting rhymes, riddles...).

Existing genres and types of children's folklore

There are the following main types of children's folklore:

Mother's poetry. This type includes lullabies, jokes, and pesters.
Calendar. This type includes nicknames and sentences.
Game. This category includes such genres as counting rhymes, teasers, game choruses and sentences.
Didactic. It includes riddles, proverbs and sayings.

Maternal poetry is incredibly important to the mother-child bond. Mom not only sings lullabies to her baby before bed, but also uses pestles at any convenient moment: after he wakes up, playing with him, changing his diaper, bathing him. Cocktails and jokes usually carry certain knowledge, for example about nature, animals, birds. Here is one of them:

Cockerel, cockerel,
golden comb,
Oil head,
Silk beard,
Why do you get up early?
You sing loudly,
Don't you let Sasha sleep?

Have fun with your child! Sing the song "Cockerel" right now! Here's the background music:

Genres of calendar folklore usually refer to living beings or natural phenomena. They are used in most various games and are considered especially effective in teams. For example, an appeal to the rainbow, which is read in chorus:

You, rainbow-arc,
Don't let it rain
Come on honey,
Bell tower!

Playful children's folklore is used by absolutely all children, even if they themselves are not aware of it. Counting cards, teasers and play rhymes are used by children every day in any group: and in kindergarten, both at school and in the yard. For example, in every company you can hear children teasing “Andrey the Sparrow” or “Irka the Hole.” This genre of children's creativity contributes to the formation of intelligence, the development of speech, the organization of attention and the art of behavior in a team, which can be described as “not being a black sheep.”

Didactic folklore is of great importance in raising children and developing their speech. It is he who bears greatest number knowledge that children will need in later life. For example, proverbs and sayings have been used for many years to convey experience and knowledge.

You just need to work with the children

It is very easy to introduce a child, even one who is just beginning to speak, to musical and poetic creativity; he will happily accept what you teach him and then tell other children.

Activity is simply important here: parents must engage with their children, must develop them. If a parent is lazy, time runs out; if a parent is not lazy, the child gets smarter. Every child will take something from folklore for themselves, because it is diverse in theme, content, and musical mood.

Children's folklore is usually called both works that are performed by adults for children, and those composed by the children themselves. Children's folklore includes lullabies, pesters, nursery rhymes, tongue twisters and chants, teasers, counting rhymes, nonsense, etc. Children's folklore is formed under the influence of many factors. Among them are the influence of various social and age groups, their folklore; mass culture; current ideas and much more.

Contemporary children's folklore

Modern children's folklore has been enriched with new genres. These are horror stories, mischievous poems and songs (funny adaptations of famous songs and poems), anecdotes. Modern children's folklore is now represented by a very wide range of genres. The oral repertoire records both works of historically established genres of oral folk art (lullabies, songs, nursery rhymes, chants, sayings, etc.), as well as texts of more recent origin (horror stories, anecdotes, “sadistic rhymes,” alterations-parodies, “ evocation”, etc.).

They sat on the golden porch

Mickey Mouse, Tom and Jerry,

Uncle Scrooge and the Three Ducklings

And Ponka will drive!

Returning to the analysis of the current state of traditional genres of children's folklore, it should be noted that the existence of such genres of calendar folklore as chants and sentences remains almost unchanged in terms of text. As before, the most popular are appeals to the rain (“Rain, rain, stop…”), to the sun (“Sun, sun, look out the window…”), to a ladybug and a snail. The half-belief traditional for these works is preserved, combined with a playful beginning. At the same time, the frequency of use of nicknames and sentences by modern children is decreasing, and practically no new texts are appearing, which also allows us to talk about the regression of the genre. Riddles and teases turned out to be more viable. Remaining still popular among children, they exist both in traditional forms (“I went underground and found a little red cap,” “Lenka-foam”), and in new versions and varieties (“In winter and summer in the same color” - Negro , dollar, soldier, menu in the canteen, nose of an alcoholic, etc.). Such an unusual type of genre as riddles with drawings is rapidly developing. Folklore records of recent years contain a fairly large block of ditties. Gradually dying out in the adult repertoire, this type of oral folk art is quite readily picked up by children (this happened at one time with works of calendar folklore). Ditty texts heard from adults are usually not sung, but recited or chanted in communication with peers. Sometimes they “adapt” to the age of the performers, for example:

Girls offend me

They say that he is short in stature,

And I’m in Irinka’s kindergarten

Kissed me ten times.

Such historically established genres as pestushki, nursery rhymes, jokes, etc. almost completely disappear from oral use. Firmly recorded in textbooks, manuals and anthologies, they have now become part of book culture and are actively used by teachers, educators, and are included in programs as a source of folk wisdom, filtered over centuries, as a sure means of developing and educating a child. But modern parents and children in oral practice use them very rarely, and if they reproduce them, then as works familiar from books, and not passed on by word of mouth, which, as is known, is one of the main distinctive features folklore