Anastasia Mashnova
Article "Folk children's folklore"

Folk children's folklore

The first acquaintance of the child with the 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, the child gets acquainted with small genres folkloreaccessible 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 popular 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 the child's ability to quickly and greedily learn about the world around him, to absorb a huge number of impressions. It was during this period that children with amazing speed and activity begin to adopt the norms of behavior of others, 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, gives samples of the Russian literary language, enriches the vocabulary with new words, figurative expressions, helps the child to express his attitude to what he listened to, using ready-made language forms ...

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

The wealth of the Russian language is revealed to the preschooler in oral folk art... Samples of it - proverbs, riddles, fairy tales and others - the child not only hears, but repeats and learns. Genres enter the language of children in accessible content. Lively spoken language and oral works popular creativity - are closely intertwined in influencing the child's speech.

Oral works popular creativity are part of children's folklore.

Children's folklore Are works of traditional folklore of adultstransferred to children's repertoire; works created by adults especially for children and learned by tradition. Common generic character children's folklore - correlation of the literary text with the game.

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

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

Chants 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 are tall and tight!

Like rain-rain

We have been waiting for you for a long time.

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

Ladybug, fly away to the sky!

There your kids eat cutlets!

The sentence, built on the principle of request-wish, sets the child up to respect each plant in the forest, field, or garden.

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

In the genre system children's folklore a special place is "The poetry of nurturing", or "Mother poetry"... This includes lullabies, nursery rhymes, pestushki, 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, passed on to the next generations. The words were usually sweet, melodious. In such songs, cooing ghouls, homely orcephalous swallows, a purring cat most often act, they talk about silence, peace. In ancient lullabies, certain living creatures are mentioned, each of which has its own responsibilities.

To the sounds of their gentle, melodious words, the baby will wake up easier, let himself be washed or fed:

Water, water,

Wash my face

To make the eyes shine

To make your cheeks turn red

So that the mouth laughs,

To bite a tooth.

Little dogs (from the word "Nurture" - educate) are associated with the earliest periods of the child's development.

Love and kindness are heard in the little dogs. They are foldable, beautiful. And they also teach the kid, he listens and looks where his leg is, where is his mouth.

Then the very first games begin, nursery rhymes: There is a horned goat, Magpie-crow cooked porridge, Ladushki. Here, along with pleasure, the child receives benefits.

TO popular tongue twisters also apply to creativity, but they basically were and remain the favorite game of older preschool age.

Tongue twisters are the rapid repetition of difficult to pronounce words. Errors in pronunciation make children laugh. While playing, children simultaneously develop the organs of articulation. Tongue twisters with a complex and rich sound design are especially popular. Tongue twisters, or phrases, teach to pronounce sounds, develop the organs of speech, 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 folkloric joke genres accompany games. Quite often jokes have a dialogical form, which also emphasizes their closeness to lively colloquial speech. They usually describe a short, funny situation full of action. In general, jokes develop a child's creative imagination and, involving him in a word game with a quick change of events, teach him to think quickly and figuratively.

Petya-Petya-Cockerel,

Petya is a red comb,

On the path he went

And found a pretty penny

I bought myself some boots

And the chicken - earrings!

The 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 giving out certain roles to all its participants, the counting-book organizes the process of the game itself and teaches children to communicate with each other in a given situation, obey the established rules. In addition, counting rhymes develop a sense of rhythm.

The bees flew in the field

Buzzed, buzzed,

The bees sat on the flowers

We play - you drive!

Riddles - short allegorical descriptions of objects or phenomena - are becoming a new way of mastering the world. The riddle is a question that the child has to answer, and it is unlikely that something 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 - a metaphor.

Glass house on the window

With clear water

With stones and sand at the bottom

And with a gold fish.

(Aquarium)

Solving the riddle, the child discovers new properties of familiar objects, learns to compare objects and phenomena with each other, to find similarities and differences between them. Thus, he orders his knowledge of the world.

Using small forms folklore it is possible to solve almost all the problems of the speech development methodology and, along with the main methods and techniques of speech development of preschoolers, you can and should use this richest material of verbal creativity people.

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

Children's folklore is a specific area of \u200b\u200boral art, which has its own poetics, its own form of being, its carriers. Children's folklore is closely related to the folklore of adults, it depends on the environment of its existence, the genre system, and all processes to which the folklore of adults is subject to one way or another is reflected in children's folklore. A common feature of children's folklore is the correlation of artistic text with play.

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 to limit 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 eventually became childish and children's creativity in the true sense of the word. Collecting children's folklore began in the first half of the 19th century. It is associated with the names of Sakharov, Tereshchenko, Avdeeva. They have collected and published some genres of children's folklore. It was at this time that researchers single out children's creativity as a separate section of folk poetry. Since the 60s of the 19th century, teachers have been paying attention to children's folklore. In 1867, a book for children "Native Word" by Ushinsky was published, 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 systematizing 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 the collective research work on children's folklore. Only in 1957 was Anikin's work "Russian folk proverbs, sayings, riddles and children's folklore" published. The first generalizing work by D.F. belongs to Melnikov "Russian children's folklore". In it, he examines in detail the origin and within the genre classification.

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

Nursing poetry (maternal poetry). Lullabies, ditties, jokes ...
Children's game folklore. Counting, drawing of lots
Folklore of word games. Sacrifices, silencers,
Children's calendar folklore. Calls, sentences.

Nursing poetry - this genre refers to the creativity of adults for children. This includes lullabies, jokes ... They are associated with upbringing, caring for and caring for them. Lullabies - help to put a child to sleep. The origin they go back to magic spells and conspiracy. This is confirmed by a treaty typical of a conspiracy with another world. They are promised an offering, and in return they are asked 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 for help and blessing. There are also texts in which the child is wished to die. This is explained by the fact that they are trying 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 the plot part with the mention of the child's name and the ending logically ends the song. Traditional lullaby songs are usually divided into 2 groups: narrative (about the child himself, about objects, animals, birds) into imperative (expressed a wish (health, etc.))

Pestushki from the word nurture, nurse, wear, educate. Associated with the earliest period of the child's development (up to a year) help to establish emotional contact with adults. In shape, pestushki represent a complex sentence or a simple common one. They are laconic, using steam or inner rhyme.

Nursery rhymes- songs accompanying the games of a child with adults (okay, magpie-crow)

Jokes - This is a small funny piece, statement or a separate rhymed expression. These are small elementary tales with an elementary plot.

Children's game folklore. This is a very voluminous group of word works that do not have an independent meaning, but are part of such a word education as a child's game. In children's play folklore, 2 groups of verbal texts can be distinguished: play preludes (counting rhymes, etc.) and a group of texts “verbal play texts: play sentences (silencers, cuts, golosyanki) and choruses, etc.

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

Readers are short verses for assigning roles in the game. They are based on the score. Many are generally meaningless. The senselessness and "cleverness" is explained by the fact that they have passed from adult folklore.

Play sentences and choruses are small pieces for organizing the game. They had 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 the games, children portrayed family life, labor activities in the village. The echoes of paganism were preserved in the games Kostromushka, Smoking-room, Sun-Golden Gate. Folklore of word games is referred to game folklore. These are cuts, silencers, teasers, tongue twisters.

Slicing is a rhyme accompanied by a blow to a tree with a shearing object. In the text of the ciphers, there is an encrypted account. One of the rarest and most ancient genres of folklore. They are related to the process of learning to count. Rhythmic units - the number of times the tree is struck.

The Silent Girl is a small sympathetic work for the game. One of the children begins to read the comic text. Usually, during the game, he tried to make the participants laugh or hurt, so that someone would laugh and speak.

Golosyanka. The essence of the game is that children compete who will last longer without taking a breath. The texts began with a seed (a small rhymed piece) They were performed in chorus and without pauses. First silenced - lost

Ridiculous - songs or rhymes in which everything is turned upside down. Thanks to the shape-shifters, the children developed a sense of the comic. Laughing at the absurdity, the child is strengthened in the correctness of the already received correct idea of \u200b\u200bthe world.

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

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

There were excuses for teasing.

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

Calls - call, call. These are the appeals of the cry of children to various forces of nature. They were usually shouted in chorus and chant. A similar genre existed in an adult environment, but was of a magical nature. The remnants of the magic have been preserved in the logical problem and signify some kind of agreement with the forces of nature.

Sentences are appeals to living beings, pronounced by each child one by one. It is characteristic for them to imitate the singing of a prita or the voice of an animal. In some cases, this is a game of deception with the subject of treatment, in others, a child's threat or sound tease, or a sentence of luck.

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

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

Sadistic rhymes. They use the element of absurdity and gratesque. Even in the image of family relationships, games, everyday life.

Workshop-workshop for educators

"Children's folklore and its classification"

Children's folklore is a phenomenon unique 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 - to teach something, others help a little person to navigate in the big world ...

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

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

The artistic form of children's folklore is specific: it is characterized by its own figurative system, a gravitation towards rhythmized speech and play. Play is an element psychologically necessary for children. Children's folklore works are performed by adults for children (maternal folklore) and the children themselves (children's folklore proper).

Maternal folklore includes works created by adults for play with very young children (up to 5-6 years old). They encourage the child to be awake and physically active (with a certain movement), arouse interest in the word. Folklore, performed by the children themselves, reflects their own creative activity in the word, organizes the play actions of the children's collective. It includes works by adults who have passed on to children and works written by the children themselves.

Little dogs, nursery rhymes, lullabies, jokes, fables - shape-shifters - this is the so-called mother's poetry. It is intended for the smallest and enters the life of a child literally from the first days.
Pestushki (from "nurture" - "nurse, raise, educate") are short rhythmic sentences accompanying various activities with an infant in the first months of his life: awakening, washing, dressing, learning to walk. For little dogs, both content and rhythm are equally important, they are associated with the physical and emotional development of the child, help him move and create a special mood.
Awakening:
Cockerel, cockerel,
Golden scallop,
Butter head,
Silk beard,
That you get up early
Don't you let the kids sleep?

Puffs:
Stretch out, stretch yourself
Quickly, quickly wake up.
Washing:
Okay, okay,
Wash my paws with soap.
Clean palms
Here's some bread and spoons.
Dressing:
Our Katya is small
She is wearing an alenka fur coat,
The edge is beaver
Katya is black-browed.
Feeding:
Gray hedgehog
Bake a pie
Fox fox
Kalach brought
Old boar
Poured honey in a jug
They're coming to call Masha.

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

Okay, okay!
Where were you?
- By Grandma!
- What did you eat?
- Koshka!
- What did you drink?
- Mint.
Sweet brew,
Grandma is kind.
Drank, ate,
Shu, let's fly!
They sat on the head!
Sat down, sat down,
Flew away!

Magpie crow
I cooked porridge,
I fed the children
I gave this,
I gave this,
I gave this,
I gave this,
But this did not give:
"Small, small, not good!
You didn't bring any water.
Shoo, let's go! "

There is a horned goat,
There is a butted goat -
For the little guys
Top-top legs.
Eyes clap-clap.
Who does not eat porridge,
Who does not drink milk
Gore him
Gore, gore!

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 the wolves, the little sissy - the little one did not leave the butter to treat another ...

However, the main role of jokes is cognitive. The child learns about people, animals, phenomena, objects, about their typical properties. Often, cumulative plots serve this purpose: fire burns out the forest, water extinguishes fire, bulls drink water, etc.

Folk songs, nursery rhymes, pestushki are also excellent speech material that can be used in classes for the development of speech in preschool children. So, when forming the grammatical structure of speech, teaching children the formation of single-root words, it is possible to use. For example, a nursery rhyme about "zainka", where the same-root words are: hare - zainka, gray - gray.

With their help, it is possible to develop phonemic hearing, since they use sound combinations - tunes that are repeated several times at different rates, with different intonations, and are performed to the motive of folk melodies. All this allows the child to first feel and then realize the beauty of the native language, its laconism, they introduce it to this form of expressing their own thoughts, contributes to the formation of the imagery of speech of preschoolers, the verbal creativity of children.

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

Ay, dudu, ay, dudu,
The man lost his arc.
The man lost the arc
Behind the woodpile in the corner.
Fumbled, fumbled - did not find,
So he cried and left.

Don, don, don!
The cat's house caught fire.
A chicken with a bucket is running -
Fill the cat's house.

Ride a daw
Robbers
They took off the jackdaw
Blue caftan.
Nothing tick
Walk around the city.
The jackdaw is crying
Yes, nowhere to take.

How the cat got into the habit
To grandma Marya in the cellar
There is sour cream and cottage cheese.
As we saw the cat
Children from the window
They slammed the window
They ran after the cat.
Grabbed the cat
Across the abdomen.
- That's it, kitty-cat,
And sour cream and cottage cheese.

In out-of-play children's folklore, we see not only the previously noted genres (sentences, songs, etc.), but also some new ones (witticisms, jerks, teasers, tongue twisters, etc.).

One of the varieties of jokes are fictions, shape-shifters, such songs or rhymes in which the real connections of objects and phenomena are deliberately displaced, violated. In folklore, fables exist both as independent works and as part of fairy tales. At the center of the fable is a deliberately impossible situation, behind which, however, the correct state of affairs is easily guessed, because the shape-shifter plays out the simplest, well-known phenomena.
"Any fable will come in handy in three years," says a popular saying. This is what K. Chukovsky wrote about this: "In such verses, the wrong coordination of things only contributes to the assertion of the correct one, and by means of such fiction we affirm children in their realistic view of the world." It was Chukovsky who introduced the term "shape-shifter" and thoroughly researched this genre. He argued that fables are designed not only to entertain, amuse kids, they are created "to stimulate the mental powers of the child", and also "to bring up 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.
Methods of folk fables can be found in abundance in the author's children's literature - in the tales of K. Chukovsky and P. P. Ershov, in the verses of S. Marshak. All children's paradoxical play poetry of the 20th century grows out of a shape-shifter. And here are examples of popular upside-down fables:

Where else has this been seen,
Where else has this been heard,
For the hen to give birth to a bull
The little pig has laid a testicle ...
So that the armless cage robbed,
I tucked the barefaced one in his bosom,
And the blind man was watching
And the deaf one overheard,
The tongueless guard screamed
And the legless ran in the heat.

Rode the village
Past the man
Suddenly from under the dog
The gate is barking.
I grabbed a club
Chopped up an ax
And according to our cat
I ran through the fence.

If non-fiction folklore is intended for young children, then for children

play folklore is intended for older people. It is distinguished by almost all modern researchers, but each of them understands its content in its own way. G.A. Bartashevich refers to him as counting rhymes, play songs and sentences. V.A. Vasilenko adds pestushki and nursery rhymes to them. All other genres of children's folklore, including lullabies, he designates as "the poetry of word games." He considers children's games as a form preceding children's folk drama.

It is obvious that 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 play is conducted at the level of meaning, concept, word, sound.

G.S. Vinogradov refers to play folklore all varieties of children's role-playing games and "play preludes". With this term, the researcher designates rhymes, poems of lots, sentences. He believes that the verbal components "cannot be studied outside the dramatic play of which they are a component."

To another group of texts by G.S. Vinogradov refers to amusing folklore. Its purpose is to entertain, cheer, amuse himself and his comrades. It includes "fun, not associated with dramatic action", their play basis is contained in words and auxiliary actions (cuts, golosyanki) or only in words (word games, shape-shifters, tongue twisters, silent, underwear).

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

In connection with the age characteristics and the nature of the pastime, play folklore occupies a leading position in the oral folk art of children. Play has a special, exceptional meaning in the lives of children. VF Kudryavtsev, a researcher of children's games, wrote: “If play is tolerated for adults according to its principle, then for children it is so natural that it is a necessity in childhood. For adults, play is recreation, but for a child, play is a serious occupation, to which he applies his weak forces; for him the game is hard work. " It is through play that children largely perceive the world around them. Playing for children is an important way of learning and learning. Children have always come up with a lot of different games.

Each game contained some 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 piece of words. itsilent and golosyanki.In other senses, the prelude to the preparation for the game is to assign roles or queues; then the literary work is only an integral, albeit the most important, part of the prelude. These are draws and counting rhymes.

Silent - this is a verse agreement to be silent. But often its content is so comical that the children cannot withstand the agreement for a long time, and soon one of them will surely laugh, to the considerable triumph of the rest.

Chock, chock, chock,

Hook teeth

Who will say the word

A click on the forehead!

The cat is dead, the tail is peeled off,

Whoever speaks will eat

Forty buckets of green snot.

The silence has begun - choke, choke!

Hook doors.

Judgments of lots are short rhyme rhymes (in 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" and others. The simplest form of drawing of lots consists of a question to * "wombs" (leading). 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 cry out:

"Queens, who should be:

Black horse

Ali of the golden drum? "

One of the queens chooses the "black horse", and the other - the "golden drum". After that, another pair of players approaches the queens and, for example, asks:

"Bulk apple

Ali gold? "

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

The themes and images of the drawing of lots are entirely determined by the everyday environment in which the peasant children lived. The creation of these miniatures was not very difficult for the children. Draws were created by them easily and with pleasure.

The rhyme genre has been especially developed in children's play folklore.Counting room are short rhymed verses used by children to guide, prioritize, or assign roles in play. They are somewhat larger in size than the draw. Readers have 6, 8, 10 or more lines.

The counting room contributes to the development of a sense of camaraderie, justice in children, develops a sense of rhythm, which is necessary in song, dance, work, carries cognitive, aesthetic and ethical functions, and also, acting as a prelude in the game, contributes to the physical development of children. Performing counting rhymes, the child learns to overcome conflicts, forms collective positive relationships.

The rhyme is inherent in song, but the main form of the rhyme performance 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:

Readers - numbers;
Abstruse rhymes;
Readers - replacements.

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

One, two - the head

Three, four - the dress was sewn,

Seven, eight - mow the hay;

Nine, ten — weigh flour. (Sat Vinogradov, Tulun)

But the rhyme not only pursues certain practical goals (it sets the order for the players), it often has an undeniable poetic meaning. It can include a variety of funny stories. For example, one of the players, touching the children in turn with his hand, says: “One, two, three, four,

There were midges in the apartment

A friend himself got into the habit of them

The cross is a large spider.

Five, six, seven, eight,

We ask the spider:

"You, glutton, do not go",

Come on, Mashenka, drive! "

whoever gets the word "Lead" becomes the leader.

The second group is formed by abstruse counting rhymes, i.e. a poem in whole or in part woven from abstruse words. Some words of some counting rhymes of this group, perceived as abstruse in a child's environment, are in fact distorted counting words.

Tanty tanty, you are armor

Zekil zekil, zimzi

You're Coco Rashmare

Greens beanie busk. (Sat Vinogradov, Tulun)

A large number of texts of counting rhymes do not contain the usual counting, nor abstruse words in which one might suspect numeral names. Readers of the third group, without knowing a more successful designation, can be called replacement counters.

Straw, broken -

Shishel, went out.

Ani-bani - what's under us,

Under the iron pillars?

Chair, boy, kinglet,

Get out to the corner. (Sat Vinogradov, Tulun)

Vinogradov noted that the counting rhyme not only gives joy to their performers, they feed other streams of creativity; this small type of literary work is included in works of large genres, drawing attention to itself with an unexpected and elegant form and serving to unite the separate parts of the work. In a distorted form in counting rhymes, not only numerals, but also other parts of speech can appear. Scientists trace the peculiarities of the abstruse language of counting rhymes to the most ancient conventional speech, to the taboo of counting (the prohibition to count, pronounce numbers). There were ancient beliefs that if a hunter counts the killed game, then he will not be successful in the next hunt; if the hostess counts the eggs, the chickens will stop laying, etc. Therefore, direct counting was replaced by conditional, ordinary words - their invented substitutes. The genetic connection of the abstruse language of counting rhymes with the ancient custom (taboo in the count) is beyond doubt. However, in counting rhymes that were recorded by folklorists in the 19th-20th centuries, abstruse speech reflects not the superstitious ideas of children, but their desire to have fun with a play on words.

The word in many counting rhymes acts not so much as an exponent of a certain meaning, as a carrier of the necessary rhythmic unit and rhyme. The counting room can be a simple set of meaningless and therefore incomprehensible words. For example:

Ani, beni, Eva, shtevu,

Decks, packs, Kushtanev,

Shore, Batori, Gum, Palyam

Shoes, century, Babaram.

The counting room contributes to the development of a sense of camaraderie, justice in children, develops a sense of rhythm, which is necessary in song, dance, work, carries in itself cognitive, aesthetic and ethical functions, and also, performing preludes in the game, contributes to the physical development of children. Performing counting rhymes, the child learns to overcome conflicts, forms collective positive relationships.

Chock, chock, chock,

Hook teeth

Who will say the word

A click on the forehead!

* * *

Corollas, corollas,

Bells were flying

Through the grass and the dew,

On the wrong side.

Collected nuts

Honey, sugar -

And silence!

* * *

The cat is dead, the tail is peeled off,

Whoever speaks will eat

Forty barns of dry cockroaches,

Forty tubs of salted frogs

Forty buckets of green snot.

The silence has begun - choke, choke!

Hook doors.

* * *

Well, come on guys

Who will not make it

The one for the hair-s-s-s!

Draws

"Queens, who should be:

Black horse

Ali of the golden drum? "

* * *

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

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

Readers

Readers - numbers

One, two - the head

Three, four - the dress was sewn,

Seven, eight - mow the hay;

Nine, ten — weigh flour.

* * *

"One two three four,

There were midges in the apartment

A friend himself got into the habit of them

The cross is a large spider.

Five, six, seven, eight,

We ask the spider:

"You, glutton, do not go",

Come on, Mashenka, drive! "

Abstruse rhymes

Tanty tanty, you are armor

Zekil zekil, zimzi

You're Coco Rashmare

Greens beanie busk.

Readers - replacements

Straw, broken -

Shishel, went out.

Ani-bani - what's under us,

Under the iron pillars?

Chair, boy, kinglet,

Get out to the corner.

“Burn, burn clearly,

So as not to go out

Look at the sky

The stars are burning

The cranes are screaming.

Stop the hem

Look in the field-

Trumpeters are going there,

Yes they eat rolls

Gu, gu, gu, I'll run away. "

Out-of-play children's folklore

Little dogs, jumping

Pulls, pulls, puffs,

Good luck to Katya!

Grow up, daughter, healthy,

Like a garden apple tree!

Sip on the cat

For the child of the little girl,

And in the hands of the snatch,

And in your mouth a talker

And in the head of the mind!

* * *

Legs, legs,

Where are you running to?

Into the woods by midges:

To shrink the hut,

So as not to live coldly.

* * *

We rode, rode

To the city for nuts

Over bumps, over bumps,

Boo into the hole!

Crushed forty flies!

Tyushki - tyuushki,

All darlings are cheerful.

I will raise Frolka

On a steep hill

Boo! Rolled

Fell off the hill!

Nursery rhymes, jokes, shape-shifters

Our daughter is at home

That pancakes in honey

Sweet apple in the garden.

* * *

Like ours, Vanya

One and a half 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 rode,

He's on a piebald on a cart,

On a creaky horse

Belted with an ax,

Stretched boots,

On a bare foot sheepskin coat.

* * *

Early in the morning, in the evening,

Late at dawn

Baba rode on foot

In a calico carriage.

And behind her with all her zeal-

With quiet steps

The wolf tried to swim across

A bowl of pies.

Someone looked at the sky -

There is an earthquake

For some reason the cat sneezed - tomorrow is Sunday.

Teasers

Andrew is a sparrow!

Don't chase pigeons

Chase the checkbox

From under the sticks;

Don't peck the sand

Don't be dumb sock!

A sock will come in handy

Peck a 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 he went to the garden.

* * *

Yegorushka conned

Shoe a cat's leg,

I went to get married-

Tied a trough.

The trough dangles

The wife smiles.

Ivan chatter,

Chatted milk -

Didn't blurt out

And he drank everything.

The wife made a crumpet,

She gave him a shish.

Tongue Twisters

Senya carries hay in the canopy,

Senya will sleep in the hay.

* * *

Shouted Arkhip, Arkhip was hoarse.

Arkhip shouldn't scream until he rattles.

* * *

Kvochka walks around the little yard.

Leads the kids around the cages.

* * *

Three stoves fly through three huts.

Calls, sentences

Rain, rain, more!

I will take out the thick

Bread edge,

A crust of pie.

* * *

Sunny, show yourself!

Red, equip!

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 are tall and tight!

Don't let it rain

Give us a bucket.

* * *

Ay, ay, auk,

Spring is haunted:

March, March -

Glad to the sun;

April, aperel

Will open the door;

May, May -

How much you want to walk!

* * *

Ladybug

Fly on a cloud

Bring us from the sky

To make it summer:

There are beans in the garden

In the forest, berries, mushrooms,

There is voditsa in the spring,

Wheat in the field.

* * *

This, this pea,

Sow peas!

Be ugly, peas,

And large and white,

For everyone's amusement:

And myself thirty

For all the guys.

* * *

You are a borok,

Give me boxes of berries

Box mushrooms,

Sack of nuts.

Puzzles

Proverbs and sayings

White pens love other people's work.
Take care of your nose in severe frost.
Being a guest is good, but being at home is better.
In the home and walls help.
Spring feeds the year.
The spring rain grows, and the autumn one rot.
The whole family is together - and the soul is in place.
Every vegetable has its own time.
Friend is known in trouble.
Amicably not heavy, but apart, at least give it up.
In the winter cold everyone is young.
December ends the year, and winter begins.
Friend is known in trouble.
A bad example is contagious.
When I eat, I am deaf and dumb.
Finished business - walk boldly.
Where the needle goes, there is the thread.
There is safety in numbers.
A bad soldier is that he does not dream of becoming a general.
Work and hands are reliable guarantees in people.
Fire is a bad joke.
A bold start is the same victory.
Let's sit down next to each other, let's talk okay.
A smile is the soul of a face.
A bargain is a bargain.
Clever 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.
Good for a bird in a golden cage, and even better on a green branch.
Hood lunch, if there is no bread.
A thin world is better than a good quarrel.
Wash yourself more often, do not be afraid of water.
The black land will give birth to white bread.
Skillful hands do not know boredom.
Cabbage soup and porridge are our food.
I am not the sun - I will not 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 the smallest age, children love to listen to songs, fairy tales, or just play nice.

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

Children's folklore in life

So, children's folklore is poetry, the main task of which is not so much entertainment for children as teaching 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, the child learns to distinguish between good and bad, to respect, appreciate and just know the world.

To create a bright future for the baby, parents and teachers combine their efforts and work in one 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 noticed that learning in a playful way is more successful than many, even the most original, methods. Folk art is very close to children and, if you choose it correctly for a particular age category, it is very interesting. With it, you can introduce children to art, folk customs and national culture, but not only! The role of folklore is great in the daily communication of children with each other (remember teasers, rhymes, riddles ...).

Existing genres and types of children's folklore

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

Maternal poetry. This type includes lullabies, jokes, pestushki.
Calendar. This type includes chants and sentences.
Game. This category includes genres such as rhymes, teasers, game choruses, and sentences.
Didactic. It includes riddles, proverbs and sayings.

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

Cockerel, cockerel,
Golden scallop,
Butter head,
Silk beard,
That you get up early
You sing vociferously
Don't you let Sasha sleep?

Take care of your child! Sing the song "Cockerel" right now! Here's the music for you:

The genres of calendar folklore usually contain an appeal to living beings or natural phenomena. They are used in a wide variety of games and are considered particularly effective in groups. For example, an appeal to the rainbow, which is read in chorus:

Oh you, rainbow-arc,
Don't let it rain
Come on sunshine
Bell!

Play children's folklore is used by absolutely all children, even if they themselves do not know about it. Counters, teasers and play rhymes are used by children every day in any team: in kindergarten, and at school, and in the yard. For example, in every company you can hear children teasing "Andrey the Sparrow" or "Irka the Hole". Such a genre of children's creativity contributes to the formation of intelligence, the development of speech, the organization of attention and such an art of behavior in a team, which can be described as "not being a black sheep."

Didactic folklore is of great importance in the upbringing of children and the development of their speech. It is he who carries the greatest amount of knowledge that children will need in later life. For example, proverbs and sayings have been serving to convey experience and knowledge for many years.

You just need to deal with children

It is very easy for a child, even one who is just starting to speak, to be introduced to musical and poetic creativity, he will gladly accept what you teach him, then he will tell other children.

Activity is just important here: parents must deal with children, must develop them. If the parent is lazy - time is running out, not lazy - the child gets smarter. Each kid will take something from folklore for himself, because it is diverse both in subject matter, and in content, and in musical mood.

It is customary to call children's folklore both works that are performed by adults for children and those composed by the children themselves. Children's folklore includes lullabies, pestushki, nursery rhymes, tongue twisters and chants, teasers, rhymes, absurdities, etc. Children's folklore is formed under the influence of many factors. Among them - the influence of various social and age groups, their folklore; mass culture; prevailing ideas and much more.

Contemporary children's folklore

Modern children's folklore has been enriched with new genres. These are horror stories, mischievous rhymes 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 includes both works of historically established genres of oral folk art (lullabies, songs, nursery rhymes, chants, sentences, etc.) and texts of a later origin (horror stories, anecdotes, “sadistic rhymes”, parody alterations, “ evocation ", etc.).

They sat on the golden porch

Mickey Mouse, Tom and Jerry,

Uncle Scrooge and three ducklings

And Ponca 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 the ladybug and the snail. The half-faith, traditional for these works, is preserved in combination with the playful beginning. At the same time, the frequency of use of chants and sentences by modern children decreases, practically no new texts appear, which also allows us to talk about the regression of the genre. Riddles and teasers proved to be more viable. Remaining still popular among children, they exist both in traditional forms (“I went underground, I found a red hat”, “Lenka-foam”), and in new versions and varieties (“In winter and summer in one color” - a black , dollar, soldier, canteen menu, alcoholic nose, etc.). Such an unusual kind of genre as riddles with drawings is rapidly developing. Folklore recordings 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 willingly picked up by children (this is what happened with the works of calendar folklore at one time). Chastushka texts heard from adults are usually not sung, but recited or chanted in communication with peers. Sometimes they "adjust" to the age of the performers, for example:

Girls offend me

They say that he is small

And I'm in the garden Irinku

I kissed him ten times.

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