Bashkir folklore and historical reality. Bashkir folk musical and poetic creativity (Questions of classification) Akhmetgaleeva Galiya Batyrovna Message on the topic of Bashkir folk ritual folklore

Bulletin of Chelyabinsk State University. 2014. No. 26 (355). Philology. Art history. Vol. 93. pp. 108-114.

MAGICAL FOLKLORE OF BASHKIR: SPECIFICITY AND MYTHORITUAL FEATURES OF THE REPERTOIRE

The place and functions of the genres of magical folklore in the system of traditional culture are considered; history of study. The main semantic, functional, mythological features of such ancient genres as Harnau, Arbau, Telak, etc. are revealed, and the most universal method of analysis is proposed, which allows us to reveal the most ancient layers of consciousness and worldview of our ancestors.

Key words: magical folklore, spells, chants, sentences, shaman, bucks, complexity, syncretism, myth, ritual.

The art of folk literature is entirely based on magical beliefs in the power and power of the word. The man of antiquity knew and appreciated the measure, time, and possibilities of the special potentials of this code, to the help of which he resorted, deeply believing that to say is to do. The word was the main instrument of all life activities, including receiving and protecting health, as well as achieving good luck and developing creative talents. The magic of the word acquired artistic functions in epics, fairy tales, legends, songs, traditions, proverbs, baits, munajats, responding to the aesthetic and spiritual needs of the people. Having practical purposes, special functions and purposes for the influence of words, they form a spell-casting repertoire of appeals as sacred ways of contacting deities, supernatural forces and the elements of Nature. The creators and transmitters of this secret knowledge to generations were especially gifted people with extraordinary abilities to master the Word, action, chants, body movements and the system of ancient teachings, that is, shamans, among the Bashkirs - bucks, as well as among the Kazakhs, Kyrgyz, Turkmens1. Created during centuries of service to fellow tribesmen, the unique creativity of baksy provides for the syncretic unity of mythological, cult, totemistic ideas about time, place, space, as well as a clear logic of cause-and-effect guidelines and practical goals for achieving the desired result. Against this background, the main purpose of the Bashkir baksy is revealed - establishing contacts with higher, heavenly powers, propitiating deities, whose patronage contributes to the healing of the sick, favorable

significant weather changes, expelling the spirit of misfortune and calling on the forces of good. In the system of similar traditions (Siberian, Turkic-Mongolian shamanism), the Bashkir institute of baksy, as an analysis of the materials shows, is distinguished by a pronounced rational-intellectual principle, the dominant nature-worshipping motives, sedateness and proportionality of actions and words.

Genres of folk art based on the sacralization of words, body movements, elements, objects, as well as the targeted use of mythological, supernatural knowledge aimed at ensuring the well-being and protection of the physiological, spiritual forces of an ethnic group, represent magical folklore. In a broad sense, the magical principle is contained in all genres of folklore, because the creation of myths, holidays, rituals, fairy tales, epics and so on. provides for influencing the will of deities, the forces of Nature, appeasing the spirits of ancestors, batyrs (demiurges) and acquiring well-being. The process of transferring ancient knowledge as ancestral values had its own strict standards and regulations. Thus, telling fairy tales (ekiet), karhYZ (myth, epic among the Bashkirs) during the day or summer provokes a very cold and long winter (Beloretsky district, Zuyak village), is fraught with the wrath of powerful spirits, severe drought (Khaibullinsky district, with Akyar; Beloretsky district, Birdigulovo village), incorrect performance of the ritual (yola) - prolonged rains up to floods or epizootics (Abzelilovsky district, Askarovo village; Kugarchinsky district, Khudaiberdino village). Verbalized myth and ritual, by their existence, act as prototypes for regulating life events, health and art. At one time, telling the karkhYza-myth “Ural Batyr” treated people with seizures (ennengen) who had lost their minds.

dock or weakened (Recorded in Askinsky, Beloretsk, Zianchurinsky districts), etc. Thus, magic and the magical are present in all models of folk knowledge, forms of creativity and etiquette due to the factors of time embedded in them, centuries-old continuous cultural tradition and powerful intellectual generational potential.

Magical folklore in its narrow, “specialized” understanding is represented by genres and genre forms that are functionally related to their intended use in rituals, healing, and sacred acts. For example, in a state of deep stress, women who were speechless were taken out into the field and hit on the cheeks, forcing them to scream, while uttering special words and making body movements (Zianchurinsky district, 1998); the evil eye, snake bite, damage, etc. were spoken with a recitative-singing word. This fund of archaic knowledge, having disowned ritual complexes, was preserved in time and practice of use due to the formulaic nature of word forms and thought forms, the long need for practical application and the continuity of the creativity of folk professionals - healers, seers, bucks. This repertoire includes prose and poetic incantations (arbau), invocations (satafuu) of rain, wind, kut, sun, etc., harnau (appeals to the spirits of ancestors, forces of Nature, deities). A special part of magical folklore consists of sentences (eytemse), sayings (eytem), signs (yrym), interpretations of dreams and events, fortune-telling-khynau (by bones, stars, stones) methods of folk treatment (im-tom), mainly functioning in the unity of words , actions and tunes. The nature and intentions of these forms of creativity can only be deciphered with complex and multidisciplinary approaches, when purely philological or ethnographic or anthropological aspects of the study, in addition to descriptive ones, cannot provide objective scientific generalizations.

Classical forms of performing the incantatory repertoire combine myth + word + action + partly chant; each of the components is associated with archaic realities that determined the peculiarities of functions, vocabulary, and methods of sending. For a tumor conspiracy, for example, a number of conditions must be met: the chicken egg needed for treatment must be laid on Wednesday, water must be taken before dawn on the waning moon,

the patient is dressed in old clothes, come to the “sessions” hungry, and before and after do not tell anyone about the purpose (the results of healing, especially) of his visit. Manipulations with objects act as a complex, projecting the bright associative, world-contemplative thinking of healers: the disease is “transferred” to an even number of unnecessary things, such as: a broken comb, a needle, lost hair, nails, broken glass, rusty nails, etc.; Throwing out an illness somewhere at a crossroads, they leave without looking back and throw seven (according to the severity of the illness, nine) rods across the road behind them, first consecrating them with prayer - this is how an invisible border is laid between this world and the next. The knowledge about the spirit is noteworthy: thus, parts of the body (nails, hair, etc.), which are the guardians of the partial soul, “carry away” diseases with them, and the deadly symbolism of broken things provokes, according to the logic of the magic of similarity, the same effect; Wednesday in folk beliefs is considered a favorable day for healing acts. The semantic world of therapeutic culture, thus, absorbs ancient knowledge and realities that have gained effective experience over the course of centuries of practice. Algysh (good wishes) and kargysh (curses) have a conspiratorial character, initially providing for the functions of the special influence of the magic of words, as well as the subordination and invocation of good (algysh) or evil (kargysh) forces. Telek (calf) as a good wish is co-semantic with algysh with the difference that the condition of pronunciation telek in the past was associated with sacrifices and even replaced it. The northeastern and eastern Bashkirs still maintain the custom of “telek salyu”.

The ideological concept of imperative appeals of all forms (conspiracies, spells, algysh, etc.) goes back to the idea of the presence of a “master” of spheres, diseases, natural elements, and so on. Ey (owner, owner) among the Bashkirs is consonant, co-semantic with the Altai, Kalmyk “ezi”, Buryat “ezhin”, Yakut “ichchi”2. Success in achieving a goal (disease conspiracy, fishing, hunting, animal spells, elemental invocations, etc.) depends on the skill and art of appeasing the “masters” and establishing “agreements” with them, requiring special sacrifices and the correct use of objects, actions, words with taking into account tribal and local traditions.

Algysh - texts of magical purpose, pronounced in an incantatory form, ascending

They relate to the ancient Turkic ata “to bless”3 and are aimed at increasing productive forces, removing fear and solving certain problems.

The ideological and functional plans of useful magic are predetermined by the depth of knowledge, the level of natural or hereditary talent, a person’s ability to be involved in the movements of the world, and to evoke the patronage of deities. In appeals to the heavenly Tengri, the spirit masters of forests, fields, rivers, the four elements - water, fire, earth, air - and in wishes, the magic of dear words is used. During sowing work, algysh is pronounced - a good wish, the harvest is called upon:

Er! Er! Er! Earth! Earth! Earth!

Kesets bir! Give me strength!

Altmysh arba arpa bir, give me sixty carts of barley,

Etmesh arba eten bir, Give me seventy carts of flax,

Bir! Bir! Give! Give!

Algysh, united in concept and different in functional purpose, contain good wishes, requests for assistance in a successful hunt, travel, fishing, etc. (pronounced before the road, work, marriage). However, in Algysh, unlike Arbau, Kharnau there is no appeal to deities, spirits of disease and the desire to subjugate to one’s will. As in the Yakut, Kazakh algys, Evenki alga4, the Bashkir algysh poetizes well-wishes, the common features are the absence of hyperbolization and idealization, the image of the result (Donyats matur bulyn! Cauldron bulyn yortots!).

Creativity associated with the magic of the word permeates the entire life of a Bashkir, the basic principles of whose life science from time immemorial have been associated with the worship of living nature, the spiritualization of unearthly and earthly spheres. Hence the diversity of verbal and poetic creativity, which goes back to the sacralization of words, actions, and sound. Pronounced in a certain time, space and place in order to obtain the desired results and appease higher powers, created with the participation of the creativity of a special person of the clan, baksy (imse, bynsy, arbaus), works were formed as cultural texts of magical purposes. The origins of creation and functioning go back to the ancient times of traditions, at the center of which is the baksy (shaman) and his talent and purpose.

The genres of magical folklore of the Bashkirs (spells, spells) became the object of scientific attention in the 19th century. The works of A. Inan describe conspiracies of snakes and birds of prey5. Classifying these genres of Bashkir folk art, one of the first folklorists G. Vildanov classifies them as “im-tom” (folk treatment) and “yshanu” (beliefs), gives examples of spells for diseases of the ears (Tatran), mentions invoking a cat (well-being ) and treatment of tredushia (eisen)6.

The variety of illnesses, illnesses, misfortunes that happen, or the need to regulate labor and life concerns determines the multi-component repertoire of conspiracies, calls, wishes, which predetermined their systematization in the context of ritual folklore7. Magical folklore is traditionally classified according to the functional characteristics and forms of illness (snake, dog, evil eye, fever, etc.), the need to restore health (caring for a child in the absence of speech, walking, illness, etc.), and resolving labor and household concerns. Conspiracies are presented in the greatest systematicity and completeness of descriptions of a diverse repertoire in the work of F. G. Khisamitdinova “Bashkorttarzshch im-tom kitaby” (“Book of Bashkir conspiracies”)8. Magical folklore associated with traditional health care norms is divided into two large parts: 1) conspiracies of childhood diseases; 2) conspiracies of adult diseases. An intra-genre division is made by type of disease (conspiracies for heart, bone, and skin ailments; conspiracies associated with the influence of the machinations of evil spirits). In studies that fragmentarily cover issues of magical folklore, the place and reflection of conspiracies in fairy tales9, prohibitions10, as well as the peculiarities of existence in time and preservation in folklore memory11 are noted.

The scientific and theoretical aspect of studying and highlighting the specifics of the spell repertoire is found in numerous works of folklorists, linguists, ethnographers, according to the profiles of sciences, revealing the features of a complex type of traditional culture. A classification of conspiracies is given according to their functional orientation, covering the ideological basis, their place in the system of genres and their main properties are determined, such as the unity of words and actions, the rhythm of stanzas, and appeal to higher powers, the spirits of ancestors12. Under-

The approaches to classification and systematization of the genre are basically the same; lexical, thematic-structural13, cult-mythological14 features are revealed from different points of view. The vocabulary of healing magic is read in the aspect of a practical system of specific knowledge of ancestors on physiology, anatomy and means of healing15. In the context of shamanic and ritual complexes, the ancient origins, functions, and semantics are explored, and the features of the mythopoetics of conspiracies are revealed16. Some poetic-style, functional and thematic features of spells, forms of creativity of baksy (shamans)17 have been studied, principles and basic motivations, functional features of magical texts have been revealed18. In the numerous works of ethnographer Z.I. Minibaeva, who has been purposefully researching this problem for many years, the system of this knowledge is restored from the perspective of a complex historical, ethnographic, typological characteristics of the activities of healers, traditional medicine is reconstructed as the original school of health care. Using a large amount of factual material, such problems as folk medical terminology, types of healing (pulse diagnostics, bath, herbal, water therapy) are widely covered; the most complete verbal-actional descriptions of diseases and methods of treatment are given in their regional, attributive specifics19.

A brief excursion shows that a comprehensive study of magical folklore in the interrelation and syncretic unity of anthropological, ethnographic, linguo-folkloristic systems, covering ritual integrity and the specificity of the architectonics of healing acts has not yet been done. Because the incantatory repertoire is a complex code of knowledge, the objective disclosure of the intent of which is impossible from a purely philological or ethnographic point of view. The modern folklore approach provides for complexity, when no component is studied in isolation from the other or from only one (lexicological, ethnographic, choreological) point of view. This method allows you to fully and comprehensively reveal the spiritual, intellectual potentials and rational knowledge of ancestors encoded in the texts, not only on physiology, psychology and human anatomy, but also ideas about time, space, place and living Nature in general.

The main symbol in deciphering sacred code texts and ideas is the Word. In the light of Nostratic origins, the deep archaism of the main genre in magical folklore, arbau (conspiracy), is noteworthy, “going back to the general and main meaning of “to conjure””20. The functional orientation of arbau in the Altai, Indo-European, and Uralic languages is associated with the idea of magical influence and has the goals of “plotting evil against someone, being in ambush, using magical powers”21. In this context, the main feature of the conspiracy, distinctive from other genres of magical folklore, is manifested - a strong-willed psychotropic influence on the object, the exclusion of evil by appeasing patron spirits and attracting special secret knowledge and exceptional words.

Conspiracy is a Bashkir arbau, a ritual and magical text created in the process of centuries-old creativity in order to suppress the will of someone and subjugate, change the course of events, brought into action in the direct presence of an object or at a distance. There are healing, love, household, labor, hunting and other conspiracies. Arbau is a sacred ritual act with the participation of a variety of functional components acting in unity and reveals similarities with harnau - archaic forms of appeals to the spirits of ancestors, Nature and connecting word, action, chant. Unlike arbau, aimed at weakening the will and influence of hostile, pathogenic, also invisible and visible forces, harnau also has an appeal to the spirits of ancestors and natural forces. “Sarn” in the Turkic-speaking sphere means the song of a shaman, spells of corruption, snakes, invocations of the wind22 and is consonant with the Bashkir Kharnau, carrying out ideas of similarity of the genre. The structures of text construction in Arbau and Harnau are similar, therefore there are equally functional key points expressed verbally.

The traditional structure and architectonics of arbau, all conspiracies (partly chants) are presented in this way: 1. Appeal to the helper-spirit and calling by name: “Hey spirit! Spirit of water! Or: “Korkot ata! Help! 2. Providing information about yourself (baksy declares his personality, capabilities): “I swam the Irtysh! I swam across the Idel! or “You are a snake, I am a snake stronger than you!” 3. Expression of the reasons that forced one to turn to God

symptoms or description of the disease. “The soul flew away from that (name) person” or “There is an evil eye on that (name) person. We need to treat him." 4. Request and specific description of the purpose of the appeal: “Bring back the kut! Bring back your strength! or “Cure the hernia!”, “Drive away Tatrana.” 5. Volitional influence in order to chase the evil one: “Where you came from, go there!”, “Whoever sent it, return!” 6. The expected result is given as a fait accompli: “He is being healed, he is being healed!”, “Look, he ran away, he ran away!” He disappeared into the field and drowned in the water.” 7. The final word “It was not I who healed - Allah” and gratitude to the spirits, elements, “A scarf for you, health for me!” In this structure, the arbau is mainly built, as well as all conspiracies, varying depending on the goals of the act and the completeness of the healer’s knowledge. Most conspiracies already exist in a truncated form, since due to the weakening of beliefs in spirits and the magic of words (body movements, breathing, objects, etc.), conspiracies fall out of practice or survive the introduction of Islamic elements. Thus, the formula for turning to spirits and deities is replaced by asking for and receiving Allah’s blessing to carry out medical and healing procedures. “O Allah, with your knowledge and permission I begin treatment (Yeh, Allam, hinets rizaligshdan them item)”; “Man-reason, You are the healer, help me! (Bende-sebepse, Allah-sikhetse! Yar^am it!)" (Records by the author in the Khaibullinsky, Zianchurinsky, Yanaulsky districts of the Republic of Belarus). The texts contain appeals to the patrons of the clan and often feature Islamic saints. Very rare in conspiracies are the motives of “getting to know” imse and presenting oneself and one’s capabilities. The idea of sacrifice fits into short phrases, such as “A scarf for you, health for me!” Discourses of magical praise (luring) of the enchanted object (“A flowing river is faster than a snake!”) have been reduced or are completely absent. Such features mark the activities and creative features of rural healers imse, arbaus, which still exist in almost every locality.

“Professional” healers now follow the rules of healing magic: they inform the patient of the time, place of treatment and rules (come hungry, do not eat meat for 3 days, etc.): they adhere to the necessary etiquette, ask for help from the “masters” of water, fire, earthly soil, avoid everyday conversation, seek help from Allah, the patrons of the family, improvise functional recitations in accordance with folk

our traditions. Cursing the disease ends with words of expelling evil forces, and at the end of the session they thank the Almighty and, receiving khair, dedicate it to the will of Allah, asking for the benefits of treatment. According to informants, “Ancient man spoke to everything that had a soul. But not everyone is given this gift of craft. Only bucks could carry this out” (Yumash village, Baymaksky district A. Barlybaev, born 1914, Zap. 1993). “There used to be mighty bucks. They shook the world! Sometimes they spoke incomprehensible words with melodies and chants, they jumped and danced!” (village Lagerevo, Salavat district, 1994). Bashkir baksy (ba'kshy, bagyus, bagymsy) - shamans are the creators of harnau and arbau, they had remarkable willpower, voice, and extraordinary abilities granted to them by inheritance. (Due to the limited scope of the article, these testimonies, collected by the author over many years, are mentioned only in fragments). The creativity of the Bashkir baksy (shamans) dates back to ancient times, is associated with nature worship, pagan traditions and the ability to establish contacts with the elements with the help of the Word. Archaic forms of contacts with higher powers and ways of influencing the will of living beings, nature, made by bucks are captured in the repertoire of magical folklore: these are conspiracies of animals, snakes, nicknames of the Sun, rainbow, rain, etc. The discovery and decoding of the semantic world of this code repertoire is associated with the acquisition of the most complete and objective evidence about archaic realities, cause-and-effect connections and artifacts that have long been lost in other cultural texts.

Notes

1 Tokarev, S. A. Early forms of religion and their development. M., 1964.

2 Folklore of the Mongolian peoples. M., 2011. 204 p.

3 Comparative dictionary of Tungus-Manchu languages / rep. edited by V. I. Tsintsius. T. 1. L., 1975.

4 Ertyukov, V.I. The era of paleometals in the North-Eastern Arctic and its role in the genesis of the small peoples of the North // Languages, culture and the future of the peoples of the Arctic. Yakutsk, 1993. P.82-84.

5 Inan, A. Shamanism tarikhta hem begen. Ufa, 1998. 210 p.

6 Vildanov, F. Terek halyktarynyts donyaga borongo dini karashi // Bashkort aimagy. 1926. No. 2. B. 27-38 (ger. gr.).

7 Bashkort halyk izhady. Yola folklore / Abstracts, bash hYZ, atslatmalar authors. E. M. Seleymenov, R. E. Soltangereva. Efe, 1995.223 b.

8 Khisamitdinova, F. G. Bashkortardyts named after Kitaba. Efe, 2006.

9 Khusainova, G. G. Modern folklore of the northern Bashkirs // Materialdary Expedition - 2006: Buraevsky district. Ufa, 2008. 239 p.

10 Gaisina, F. F. Prohibitions as a folklore genre in the traditional culture of the Bashkirs: auto-ref. dis. ...cand. Philol. Sci. Kazan, 2013. 27 p.

11 Yuldybaeva, G.V. Khezerge bashkort halyk izhadynda im-tom // Bashkort folklorynits khezerge torosho. Efe, 2012. pp. 156-163.

12 Galin, S. A. Bashkir folk epic. Ufa, 2004. 320 p.

13 Iskhakova, G. G. Rhythm as the main principle of organization of the spell text // Ural-batyr and the spiritual heritage of the peoples of the world. Ufa, 2011. pp. 203-204.

14 Khusainov, G. B. Ancient Bashkir written monuments // History of Bashkir literature. Ufa, 1990. T. 1 (in Bashkortostan).

15 Karimova, R. N. Khalyktyts donyaga karashyn kyrheteyse syganak bularak halyk medicine lexis // Ural-batyr and the spiritual heritage of the peoples of the world. Ufa, 2011. pp. 208-210.

16 See: Sultangareeva, R. A. 1) Ritual folklore as a subject for reconstruction of the personality, functions and creativity of the bagymsy. Ufa, 1999. pp. 84-107; 2) Arbauzar // Bashkir folklore. Research and materials. V issue Ufa, 2004. pp. 199-215.

17 Baimov, B. S. Creativity of the bucks // Shonkar, 1993. No. 1. P. 28. (in Bashkortostan)

18 Seleymenov, E.M. Bashkort khalkynyts im-tom hem mezzeti yola folklore // Bashkir folklore. Research and materials. Ufa, 1995.

19 Minibaeva, Z. I. Islam and demonological ideas about diseases in folk medicine of the Bashkirs (based on the material of the Kurgan region) // Ethnogenesis. Story. Culture. Ufa, 2011. pp. 162-168; Healing spells in folk medicine of the Kurgan Bashkirs and Altai peoples // Ural-Altai: through the centuries into the future. Ufa, 2008. pp. 149-153.

20 Nafikov, Sh. V. Tamyry ugata borongo bashkort. Mekeleler yiyyntygy. Efe, 2009. 418 b.

21 Dolgopolskiy, A. B. Nostratik dictionariy. Cambridqe, 2008.

22 Abylkasymov, B. Sh. Zhauyn Shakyru // News of the Academy of Sciences of the Republic of Kazakhstan (Kazakhstan). Philology. 1992. No. 3. P. 50-54.

1 Tokarev, S. A. (1964) Early forms of religion and their development], Moskow. (in Russ.).

2 Fol"klor mongol"skih narodov (2011) [=Folklore of the Mongolian people], Moskow, 204 p. (in Russ.).

3 Sravnitel "nyj slovar" tungusko-manchzhurskih jazykov (1975) [=Comparative dictionary Tungus-Manchzhur], Volume 1, Leningrad. (in Russ.).

4 Jertjukov, V. I. (1993) “Jepoha paleometallov v Severo-Vostochnoj Arktike i ejo rol” v genez-ise malochislennyh narodov Severa” [=Epokh of paleometall in the Northeast Arctic and its role in the genesis of small peoples of the North], in : Jazyki, kul "tura i budushhee narodov Arktiki ^Languages, culture and the future of the people of the Arctic], Jakutsk, pp. 82-84. (in Russ.).

5 Inan, A. (1998) Shamanizm tarihta ham begen, Ufa, 210 p. (in Bashk.).

6 Vildanov, F. (1926) Terekhalyxtaryny^ don "jaza boronzo dini xarashy, in: BashKort ajmary, No. 2, pp. 27-38 (geg. gr.) (in Bashk.).

7 Bashxort halyx izhady. Jola fol"klory. (1995), efe, 23 p. (in Bashk.).

8 Hisamitdinova, F. G. (2006) Bashxorttar^yц im-tom kitaby, efe. (in Bashk.).

9 Husainova, G. G. (2008) “Sovremennyj fol”klor severnyh bashkir” [=Modern folklore of northern Bashkirs], in Jekspedicija materialdary - 2006: Buraevskij rajon [=Materials of the expedition], Ufa, 239 p. (in Russ.) .

10 Gajsina, F. F. (2013) Zaprety kak fol"klornyj zhanr v tradicionnoj kul"ture bashkir [=Ban as a folklore genre in traditional culture the Bashkir], Kazan", 27 p. (in Russ.).

11 Juldybaeva, G. V. (2012) "No. 3erge bashKort halyK izhadynda im-tom", in BashKort fol"klorynyq hezerge torosho, efe, pp. 156-163 (in Bashk.).

12 Galin, S. A. Bashkirskij narodnyj jepos [=Bash-kirsky national epos], Ufa, 2004. 320 p. (in Russ.).

13 Ishakova, G. G. (2011) “Ritm kak osnovnoj princip organizacii zagovornogo teksta” [=A rhythm as the basic principle of the organization of the zagovorny text], in: Ural- batyr i duhovnoe nasledie narodov mira [=Urals - the batyr and spiritual heritage of people of the world], Ufa, pp. 203-204. (in Russ.).

14 Husainov, G. B. (1990) “Ancient bashkirskie pis”mennye pamjatniki” [=Ancient Bashkir written monuments], in: Istorija bashkirskoj literatury [=History of the Bashkir literature], Ufa, Volume 1 (in Russ.).

15 Karimova, R. N. (2011) “Halyxtyq donjara ■Karashyn kyrhateYse syrana^ bulara^ halyK medicinahy leksikahy”, in: Ural-batyr i duhovnoe nasledie narodov mira [=Ural-batyr and spiritual heritage of the peoples of the world], Ufa. pp. 208-210. (in Bashk.).

16 Sm.: Sultangareeva, R. A. (1999) Obrjadovyj fol"klor kakpredmet rekonstrukcii lichnosti, funk-cij i tvorchestva bagymsy [=Ceremonial folklore as subject of reconstruction of the personality, functions and creativity of a bagymsa], Ufa, pp. 84107; Sultangareeva, R. A. (2004) "Arbaugar", in: Bashkirskij fol"klor. Issledovanija i materialy [=Bashkir folklore. Researches and materials], Issue 5, Ufa, pp. 199-215 (in Russ.).

17 Baimov, B. S. (1993) “Tvorchestvo baksy”, in: Shonkar, No. 1. p. 28 (in Russ.).

18 Selajmanov, Z. M. (1995) "BashKort halxynyq im-tom ham mejjati jola fol"klory" // Bashkirskij

fol"klor. Issledovanija i materialy [=Bashkir folklore. Researches and materials], Ufa. (in Bashk.).

19 Minibaeva, Z. I. (2011) “Islam i demono-logicheskie predstavlenija o boleznjah v narodnoj medicine bashkir (on materiale Kurganskoj oblas-ti)” [=Islam and demonological ideas of diseases in traditional medicine the Bashkir (on material of the Kurgan region) ], in: Jetnogenez. Istorija. Kul"tura [=Ethnogenesis. History. Culture], Ufa, S. 162-168; Minibaeva, Z. I. (2008) Lechebnye zagovory v narodnoj medicine kurganskih bashkir i altajskih narodov [=Medical plots in traditional medicine Kurgan the Bashkir and the Altai people ], in: Ural-Altaj: cherez veka v budushhee [=The Urals-Altai: in centuries in the future], Ufa, pp. 149-153 (in Russ.).

20 Nafikov, Sh. V. (2009) Tamyry uzata boronzo bash "Kort. Ma^shhr jyjyntyzy. 0fe, 418 p. (in Bashk.).

21 Dolgopolskiy, A. B. (2008) Nostratik dictionary. Cambridqe.

22 Abylkasymov, B. Sh. (1992) "Zhauyn shakyru", in: Izvestija ANRK (Kazakhstan). Filologija, no. 3, pp. 50-54. (in Bashk.).

The Bashkirs created a rich folklore. The works of oral folk art artistically reflect the views of the ancient Bashkirs on nature, their worldly wisdom, customs, understanding of justice and creative imagination.

The epic of the Bashkir people originates in the era of the decomposition of the primitive communal system and reaches its most complete development during the period of feudalism, during the period of unification of fragmented clan groups into large tribal unions in the face of foreign invaders. One of the most perfect forms of the Bashkir folk epic was the form of the heroic poem - kubair. The Kubairs reflected the motives for unification and the idea of forming a single Bashkir nation.

Traditions and legends passed down from generation to generation highlight the history of the people, their way of life, morals, and customs.

Bashkir fairy tales express national traits, life and customs of the people. In fairy tales there are egets (good fellows) and batyrs (brave warriors). They are excellent with a bow, that is, they shoot accurately, do good deeds, and help people.

Bashkir fairy tales evilly ridicule the oppressors of the people: padishahs, khans, bais.

Fairy tales tell about the hard life of the poor and orphans, but most often it is cheerful than sad.

Bashkir fairy tales praise honesty and generosity, condemn the cowardice of those who abandon their comrades in trouble, call for work, study crafts, and teach to appreciate and honor old people.

Heroic tales tell about the fight against monsters, about the trials associated with solving difficult problems. Batyr leaves home to see the world, show himself and find a use for his powers.

Fairy tales tell of various miracles; animals speak in a “human voice” and help in times of trouble. Magic objects can change their appearance and turn into other objects.

Everyday fairy tales tell about the life of the people, their daily works and worries, about the relationships between people (rich and poor, good and evil, and so on).

Comic fairy tales are imbued with good-natured humor; they usually ridicule stupidity. Often in such fairy tales the characters are devils, devas, and witches, who are characterized by causeless cruelty and stupidity.

Bashkir proverbs and sayings reflect the history of the people from ancient times to our time. For example, the proverb-sign “A crow croaks - unfortunately” is associated with the ancient ideas of the Bashkirs that the crow is a prophetic bird that warns people of danger.

The animation of nature is expressed in the saying “The forest is the ears, the field is the eyes.” In the proverb “A lonely man may lose his bow, but a man with family will not lose his arrow,” people express the idea that a person should live in a group. The people used proverbs to condemn biys, mullahs, and officials: “Don’t go to the biy - he will come for you, don’t go to the khan - he will come for your goods,” “Every day is a holiday for the rich, every day is grief and worry for the poor.”

I APPROVED

Branch Manager Director

MBOU DO DD(Yu)TMBOU DO DD(Yu)T

N.E. SelivYerstova ______ L.Z.Sharipova

"___" _______ 2016 "___" _______ 2016

PLAN
EDUCATIONAL WORK
ASSOCIATION "BASHKIR FOLKLORE"

FOR THE 2015/2016 SCHOOL YEAR

BASED ON

ADDITIONAL GENERAL EDUCATION
(GENERAL DEVELOPMENTAL MODIFIED) PROGRAM
BASHKIR FOLKLORE

Khismatullina G.G.

Bashkir teacher

language and literature

village Salikhovo

Explanatory note

The additional general education (general developmental modified) program “Bashkir folklore” is compiled on the basis of:

Federal Law of December 29, 2012 273-FZ “On Education in the Russian Federation”.

The procedure for organizing and implementing educational activities in additional general education programs (Order of the Ministry of Education and Science of the Russian Federation (Ministry of Education and Science of Russia) dated August 29, 2013 No. 1008 Moscow)

SanPin 2.4.3172-14 “Sanitary and epidemiological requirements for the structure, content and organization of the operating mode of educational institutions of additional education for children” (approved by the Chief State Doctor of the Russian Federation on July 4, 2014 No. 41)

Letter from the Ministry of Education and Science of the Russian Federation dated December 11, 2006 No. 06-1844 “On approximate requirements for additional education programs for children”

Charter of MBOU DO DD(Yu)T of Ishimbay municipal district Ishimbaysky district of the Republic of Bashkortostan.

Relevance of the program

Everyone has their own educational system that has developed over many millennia. It covers all aspects of preparing a child for the future life, transfers from the older generation to the younger all the best that has been accumulated by generations, and gives excellent results in the moral development of the individual.

Folk art, as art in general, is multifunctional, and one of its functions is educational. Folk art has great educational potential, which has not yet been fully realized. This prompted me to begin purposeful work on raising children using the material of Bashkir folk art.

The additional educational program of the folklore circle is aimed at truly reviving interest in the history of the people and their cultural values. Participants in the implementation of programs have the opportunity to turn to wisdom and moral purity reflected in folklore. Their activities are expressed in the development of the cultural traditions of their native land. Learning everyday and ritual songs, calendar holidays and folk rituals, familiarity with folk costume, folk life, theater and the calendar is reflected, through musical folklore and oral folk art, in the organization of concert activities, participation in scientific and practical conferences, in the organization of folk art festivals.

The moral norms enshrined in proverbs and sayings not only regulate moral relations among our people, they serve as a clear program for the moral education of the younger generation. Through their interaction, morality is formed, moral feelings develop, skills and habits are developed. What does folk wisdom, speaking in the language of proverbs, require of us? She teaches respect for parents, talks about friendship and family love, glorifies work, condemns laziness, cheating, bully and shamelessness. Proverbs formulate popular concepts about honor and dishonor, about justice and injustice, about the duty and dignity of a person.

Getting to know Bashkir folklore, the best works of folk poetry (epics, kubairs, baits) help develop such character qualities as humanism, hard work, honesty, courage, patriotism, modesty, responsibility, kindness and respect for elders. At the same time, the people, as it were, attract their mighty and kind hand from the distant past to their future.

He cares about the spiritual and physical health of our contemporaries. It teaches children and adolescents to feel the truth more subtly and deeply, to understand life situations and surrounding phenomena, and cultivates sensitivity to beauty. This is how people protect themselves. It provides, in fact, only one way to protect yourself from everyone who is very likely to hold on to their roots these days.

Program directions

The educational program is based on the achievements of classical and modern pedagogy, built taking into account the age and psychological characteristics of children, aimed at developing the emotional sphere of the child, his aesthetic sense, as well as stimulating creative activities in the development of folk culture.

Wisdom and simplicity, organically combined in folklore, help to convey to students the high moral ideals of their native people. Nurturing hard work, mercy, tolerance, honesty, respect for elders, caring for the younger are the commandments of folk pedagogy, which serve as a kind of guideline for this program, its spiritual compass.

Novelty of the program

Preservation of customs, folklore, music, objects of material culture of each locality is necessary to preserve the culture of the entire country. Its impact is high on both the mind and soul.

One of the goals of this program is to help children decide on new life conditions, to draw attention to the history of our ancestors, to teach children to use this knowledge and experience in modern life.

Interest in the culture, history, and traditions of our native land has grown significantly recently. But children are not always interested in what adults are interested in. For a child, information that can be perceived not only with the eyes, but also tactilely, is valuable, and can be passed through the information through oneself, through the history of one’s family, through still-preserved objects of material culture.

The program, in an accessible and exciting form, allows children to gain complete knowledge of oral folk art and includes their creative artistic activities.

Parental participation in the educational process is mandatory. Parents interested in folk art join their children’s activities and take an active part in folklore festivals.

The program is modified, developed on the basis of the educational program “Kupava”, additional education teacher Drozhzheva T.A., 2009.

Purpose of the program: to instill love and interest in one’s culture and art, to promote the harmonious development of the child’s personality through folk art.

Program objectives:

Educational:

1) Give an idea of the historical past of the region, the traditions and customs of its people, the relationship of different peoples living in this region, the interaction of man and the environment.

2) To develop the child’s performance skills in the areas of singing, movement, and music playing.

Educational:

Develop and maintain interest in various aspects of the past and present of the region.

To promote the development of logical thinking, observation, attention, imagination, fantasy, and creative initiative in children.

Educational:

To cultivate a caring attitude, respect for the traditions of Bashkir culture, Bashkir folklore, costume, national pride in one’s people, their cultural heritage.

Formation of the child’s spiritual and moral personality through the means of folk art, based on the traditional values of national culture.

To develop the ability to find beauty in folk art.

Content and direction of educational activities

The program is intended for the study of folklore by children from 12 to 14 years old. The implementation of the program is designed for 2 years, training includes the study of the following sections:

Oral folklore.

The simplest children's poems, ditties, counting rhymes form the basis of the “rhythmic mood” with which each lesson begins, as well as the basis of “finger games”, which develop the child’s freedom of movement, imaginative thinking, memory, attention and speech. This includes fairy tales, jokes, and riddles.

Musical and song folklore.

Develops an ear for music, a singing voice, the ability to move, and perform simple dance movements.

Ethnographic information.

They have great educational and educational significance. These are conversations about the traditional life of the people and its historical changes, holidays, and the importance of decorative and applied arts in life. Excursions to the local history museum.

Games

This is the most important component in raising our children. This section includes music, sports and drama games.

Folklore theatre.

Along with folk holidays, this is the most powerful way for a child to feel like he is in the culture in which he is immersed in classes. By acting out the simplest scenes, children get the opportunity to try themselves in various roles.

Holidays

This is the brightest collective part of folklore, in which many areas of folklore creativity of the people find their application. Here it is assumed that you will become familiar with calendar holidays, including the preparation and holding of such holidays as “Nardugan”, “Nauruz”, “Sumbulya”, “Crow Porridge”.

Forms of conducting classes

Each lesson for each section has the following structure:

Conversation on one of three topics:

Folk calendar, folk customs and rituals; Bashkir life, traditional way of life; Folklore genres.

Listening and perception of music.

Singing, dancing.

Musical and folklore games.

All of the specified elements of classes are reflected in the calendar and thematic planning.

Lesson mode

Classes are held 2 times a week for 2 hours, with a break of 10 minutes. Only 144 hours.

Expected results

As a result of mastering the program, it is expected that children will receive the following knowledge:

About the family traditions of the Bashkir people;

About the traditional activities of the Bashkir people (craft, national costume, national dishes);

About the national costume of the peoples living in Bashkortostan;

About the national calendar;

About Bashkir culture and the culture of other peoples living in Bashkortostan.

Learn:

Perform Bashkir folk songs;

Perform dance movements;

Organize and conduct folk games.

Children will be able to cultivate in themselves:

A self-respecting person (thinking, creative and free), awakening interest in family traditions and becoming a mediator between generations of his family;

The ability to see beauty in folk art;

Adequate self-esteem.

Forms of control for testing knowledge, skills and abilities.

General control is carried out at the final events of the year, where the areas of folklore creativity are reflected: oral, musical, game.

Individual approach and control is carried out:

In the form of oral surveys and tests on the assimilation of material from the section “Ethnographic information”.

In the form of reporting concerts.

Methods for tracking results

1) Organization and participation in competitions, games, holidays.

2) Test tasks and quizzes.

3) Conversations with children and their parents.

4) Collective creative activities.

Objectives of the first year of study

Arouse interest in studying the history, culture and life of the people.

Introduce yourself to local folklore.

Cultivate moral feelings.

To instill practical skills in performing folklore chants.

Curriculum for the first year of study

144

105

Contents of the first year program.

Section 1. Introductory lesson. TB instruction. Getting acquainted with the work plan of the circle.

Section 2. Introduction to the subject. The people are the creators of folklore. The concept of folklore. Genres of folk art. Outstanding folklorists researchers. Acquaintance with folklore collections.

Section 3. Autumn.

Topic 3.1 Oral - poetic folklore. Theory . Introduction to children's folklore: jokes, nursery rhymes, teasers. Riddles, proverbs about autumn. Folk signs, their role in human life.

Topic 3.2 Musical folklore. Practice. Learning lullabies about autumn and harvest. Ditties. Work on the development of vocal and choral skills. Individual voice training lessons, work with soloists. Folk choreography.

Topic 3.3 Folk games. Theory. Conversation about folk games.Practice. Learning rhymes, games “Our beds”, “Yasheram yaulyk”, “Geese-swans”, “Slippers”.

Topic 3.4 Folklore theater. Theory. Practice. Preparation and holding of the holidays “Sumbyulya-Harvest Festival”, “Sugym Ashy”, “Mothers and Daughters”.

Topic 3.5 Ethnographic information. Theory. Women's and men's clothing of different classes.Practice. Drawing sketches of folk clothes.

Section 4 Winter

Topic 4.1 Oral poetic folklore. Theory. Proverbs and sayings, folk signs about winter.Practice.

Topic 4.2 Musical folklore. Theory. Conversation about folk dances.Practice. Learning songs about winter. Words with music, movement. The ability to present the performed repertoire emotionally and expressively. Mastering the movements of folk choreography.

Topic 4.3 Folk games. Practice. Musical and dance games. “Naza”, “Kurai”. Games for developing intuitions “Kuresheu”, “Gate”.

Topic 4.4 Folklore theater. Theory.

Topic 4. 5 Ethnographic information. Theory. Winter work in the village. Brownie is the owner of the house. A conversation about the traditional life of the people.

Section 5 Spring

Topic 5.1 Oral poetic folklore. Theory. Calls of spring.Appeal to the sun, rain, earth. Sayings, folk signs about spring. Observations of nature using signs of spring. Proverbs about spring.

Topic 5.2 Musical folklore. Practice. Folk songs about spring, about birds, about the beauty of spring nature. Individual work on voice training, preparation of solo numbers. Practicing folk choreography movements.

Topic 5.3 Folk games. Practice. Musical games “Suma oirak, suma kaz”, “Ak tirak, kuk tirak”.

Topic 5.4 Folklore theater. Theory. Introducing the holiday “Kar syuyna baryu”.Practice. Preparation and holding of the ritual holiday “Kar syuyna baryu”.

Topic 5.5 Ethnographic information. Theory.

Section 6 Summer.

Topic 6.1 Usto-poetic folklore. Theory. Conversation. What a delight these fairy tales are.Practice. reading and watching fairy tales. Storytelling competition.

Topic 6.2 Musical folklore. Theory. conversation about song genres. Labor songs. Songs and dances.Practice. song contests, ditties. Combining the studied elements of dance with songs.

Topic 6.3 Folk games. Practice. Preparation and holding of children's Sabantuy. Collecting gifts according to the ancient custom “Solgo yyyyu”.

Topic 6.4 Folklore theater. Theory. Getting to know the holiday

"Nardugan". Practice. Preparation and holding of the ritual holiday “Summer Nardugan”.

Topic 6.5 Ethnographic information. Theory. Bashkir yurt. Features of construction.Practice. Decoration of the yurt. Drawing sketches.

Topic 6.6 Final lesson. Theory. Testing.Practice. Game “Own game”, Folk games in the fresh air.

Section 7 Educational work. Theory . Conversations with students.Practice.

Objectives of the second year of study

1) Continue getting acquainted with the traditions and customs of the Bashkir people.

2) Deepen previous knowledge.

Curriculum for the second year of study

p/p

Topic name

Total

hours

Theory

Practice

Introductory lesson. Safety training

Introduction to the subject.

Image of a bird.

Animal image.

The tree of Life.

Family and everyday life.

Heavenly bodies.

EthnographicallyIexpedition

Final lesson.

Educational work

144

114

Contents of the second year program

Topic 1 Introductory lesson. Theory. Getting acquainted with the work plan of the circle. Safety briefing.

Topic 2 Introduction to the subject. Theory. Genres of folk art. Researchers folklorists. New collections on folklore.

Topic 3 Image of a bird.

● Oral-poetic folklore. Theory . Artistic reading and discussion of tales about birds. Getting to know riddles, proverbs, sayings, and rhymes about birds.Practice. Playing fairy tales by role. Drawing competitions - “The bird is a symbol of happiness.” Bird riddle competition.

● Musical folklore. Theory. Birds in Bashkir and other folk songs. Musical instruments imitating birdsong. Kurai, kubyz, whistles. Acquaintance with the work of the master, virtuoso kubyz player, musician Zagretdinov. Watching the video “Synrau Torna”.Practice. Learning the dance “Synrau Torna”.

● Folk games. Practice. “Geese-swans”, “Goose Bridge”, “Burner”. Musical quiz “Across the folklore islands.”

Topic 4 Image of animals

● Oral-poetic folklore. Theory . Tales about animals. Getting to know riddles, proverbs, and sayings about animals. Getting to know animal calls.Practice. Competition for storytellers about animals. Competition of riddles, proverbs and sayings about animals. Drawing competition “Once upon a time.” Folk signs about animals and birds.

● Musical folklore. Theory. Animal imagesin Bashkir folk songs. Acquaintance with the history of Bashkir folk songs “Kara Yurga”, “Akbuzat”.Practice. Learning these songs. Learning the “Riders” dance.

● Ethnographic information. Theory. Conversation about the way of life of the Bashkir people. The Bashkir horse is the pride of the people. Kymyz is the national drink of the Bashkir people. Watch a video about making harnesses.

Topic 5 Tree of Life

● Oral-poetic folklore. Theory. Respect for elders in everyday fairy tales. Getting to know riddles, proverbs, sayings about trees. Appeal to trees among the Russian people. The healing power of trees.Practice. The ritual of decorating trees among the people.

● Musical folklore. Theory. Reflection of the image of a tree in folk songs.Practice. Learning the Russian folk song “A Birch Tree Stood in the Field” and the Bashkir folk song “Ak Kayin”. Learning the dance “Falling Leaves”. Repetition of lullabies.

● Folk games. Practice. Repetition and replay of completed games.

● Ethnographic information. Theory. A conversation about the ancient tradition—the drawing up of a family tree by each family.Practice. Shezhere. Familiarity with the rules of its compilation.

Topic 6 Family and everyday life

● Oral poetic folklore Theory. Who lives in our house?Family concept. Traditional peasant family. Family lifestyle and its connection with the interior of a traditional home. Family composition, head, family members. The role and place of each family member in the daily routine and in accordance with the household activities of each.

● Musical folklore. Practice. Learning lullabies, songs about mothers, about family. Learning the dances “Bishmarmak”, “Three Brothers”.

● Folklore theatre. Practice. Preparation and holding of the ritual holiday “Isem Tuyy”.

Topic 7 Heavenly bodies

● Oral-poetic folklore. Theory. The image of the sun, moon, stars in fairy tales. Proverbs, sayings, riddles, folk signs about the sun, moon and stars. Practice. Playing fairy tales by role. Getting to know the legend “Yetegan Yondoz”.

● Musical folklore. Theory. The image of heavenly bodies in folk songs. Practice. Learning the song “Ete kyz”.

● Folk games. Practice. “Ay Kurde, Koyash Aldy”, “Ak Tirak, Kuk Tirak”.

● Folklore theatre. Practice. Preparation and holding a theatrical performance based on the legend “Yetegan Yondoz”.

Topic 8 Ethnographic expedition.

● Practice. Collection of material on folklore.

● Practice. Collection of material about rituals and holidays.

Topic 9 Final lesson. Practice. Crossword “Through the pages of your favorite fairy tales”, Musical quiz “Guess the melody”. Competitions of riddles, proverbs and sayings. Testing.

Topic 10 Educational work. Theory. Conversations with students.Practice. Excursions. Holidays, matinees, concerts. Participation in competitions and festivals.

Methodological support

Methodological developments;

Educational program;

Magazines "Teacher of Bashkortostan"

Electronic textbook “State Academic Dance Ensemble named after. F. Gaskarova."

Logistics support

TSO: computer, speakers;

Discs with recordings of Bashkir folk music, songs, dances;

Costumes for competitive performances;

Elements of Bashkir folk costume for games and dances;

Attributes for folk games, round dances, dances;

Bibliography

Burakaeva M. Bashkir culture. Ufa, 2004

Bashkir folk art: Fairy tales. – Ufa 1981,1984.

Bashkir folk art: Ritual folklore 1.2 volumes. - Ufa, 1984.

Bashkir folk art: Proverbs, sayings, signs, riddles. – Ufa 2006.

Bashkir folk art: Baits, songs, takmaks. –Ufa 1984.

Bashkir folk art: songs and legends. – Ufa 1997.

Lisitskaya T.S. Choreography and dance. T.S. Lisitskaya. - M, 1998.-p.18-42.

Nagaeva L.I. Bashkir folk choreography. Ufa: “Kitap”, 1995.

Nagaeva L.I. Three Bashkir dances. Ufa, 1992.

Nadrshina F.A. Bashkir folk melodies. Song and dance games. Ufa, 1996.

Suleymanov A. Children's folklore. Ufa, 2007.

Calendar but-thematic plan mug “Bashkir folklore”

MBOU DO DDYUT Ishimbay based on the village of Salikhovo

p/p

Name of sections and topics

Total hours

Theory

Prak

teak

date

Introductory lesson. Rules of behavior during the lesson, safety precautions when using TSO and appearance features.

Getting to know the circle plan.

16.09

Introduction to the subject.

The people who created folklore.

Genres of folk art.

20.09

Autumn

Oral poetic folklore

Collectors of Bashkir folklore.

27.09

Studying folklore in Bashkortostan.G. Argynbaev, A. Kharisov, S. Galin, A. Suleymanov and others.

Riddles, proverbs about autumn.

30.09

Jokes, nursery rhymes, teases

Folk signs, their role in human life.

30.09

Musical folklore Learning a lullaby.

4.10

Learning songs about autumn, about the harvest.

Ditties.

7.10

Creativity of sesens (Ekietter, riueetteter, hikeyeler. Sesender izhady)

Fairy tales.

10.10

Learning tongue twisters.

Work on the development of vocal and choral skills.

14.10

Individual voice training lessons, work with soloists. Folk choreography.

18.10

Folk games. Conversation about folk games.

Traditional folk games.

Games (, kuz beylash, gurguldek, us kunys, tayak tashlamysh)

Educational games.

21.10

25.10

Learning counting rhymes.

Plot-based with the presence of characters and roles (“ubyrly karsyҡ” - “witch”, “ayyu menen kuyandar” - “bear and hares”, “yәsheәm yaulyҡ” - “hiding a handkerchief”)

Dance games with improvisation of the behavior of animals and birds: “Game of Black Grouse”, “Game of Cuckoos”.

28.10

1 3

Folklore theater

Acquaintance with folk ritual holidays.

Seasonal and traditional holidays of the Bashkirs.

1 .11

1 4

Preparation for the autumn holiday “Sumbyul Bayramy”.

4.11

8.11

11.11

Preparation and holding of the “Sugym Ashy” holidays.

Entertainment"Daughters and mothers."

15.11

Ethnographic information

18.11

Winter

Oral-poetic folklore. Proverbs and sayings about winter.

Nfolk signsabout winter.

22.11

Through the pages of fairy tales. Dramatization of favorite fairy tales.

25.11

29.11

Musical folklore.

Conversation about folk dances.

2.12

Learning songs about winter. Words with music, movement. The ability to present the performed repertoire emotionally and expressively.

6.12

20.12

Mastering the movements of folk choreography.

Unlearningdancing « Naza» . Practicing dance elements.

Practicing movementsdancing

Practicing the entire dance « Naza» .

9.12

13.12

16.12

Folk games

Games for developing intuitions “Kuresheu”, “Gate”.

23.12

Folklore theater

Acquaintance with the holidays “Winter Nardugan”, “Kis Ultyryu”.

27.12

Preparing the holiday"Winter Nardugan".

30.12

Preparing the holiday"Kis ultyryu."

6.01

Ethnographic information.

Winter work in the village.

Brownie is the owner of the house. A conversation about the traditional life of the people.

10.01

Spring

Oral poetic folklore

Calls of spring.

Appeal to the sun, rain, earth.

13.01

Sayings, folk signs about spring.

Observations of nature using signs of spring.

Proverbs about spring.

17.01

Musical folklore

Folk songs about spring, about birds, about the beauty of spring nature.

20.01

Individual work on voice training, preparation of solo numbers.

24.01

Practicing folk choreography movements.

27.01

Round dance game songs.

Comic songs.

7.02

Folk games.

Games with the arrival of spring.

Sports games: racing (yugeresh), running in sacks, fighting with sacks, running with an egg in a spoon, tugging with a woven towel, etc.

10.02

14.02

Musical games “Suma oirak, suma kaz”. “Ak tirak, kuk tirak.”

Games for liberation.

17.02

Outdoor games based on fairy tale themes.

Bashkir folk games for the holiday.

Entertaining games.

21.02

Folklore theatre. Introducing the holiday “Kar syuyna baryu”.

24.02

28.0 2

The holiday “Kar syuyna baryu” in literature.

Rituals of the life cycle.

3.03

7.03

10.03

Ethnographic information

Watching a video about the ancient crafts of the Bashkir people.

Ancient crafts of the Bashkirs Arkan Isheu, etc.

14.03

Summer

Oral-poetic folklore. Conversation. What a delight these fairy tales are.

My favorite fairy tale characters.

Reading and watching fairy tales.

Storytelling competition.

17.03

21.03

Musical folklore. Conversation about song genres.

24.03

Labor songs. Songs and dances.

Song competitions, ditties.

Combining the studied elements of dance with songs.

Learning the dance “Mower-thresh”lka".

Practicing dance elements.

Practicing dance movements.

Practicing the entire dance.

31.03

4.04

7.04

11.04

4 5

Folk games.

Preparation for children's Sabantuy.

14.04

18.04

21.04

4 6

Folklore theater

Getting to know the holiday

25.04

28.04

Getting to know the holiday

"Nardugan". "Summer Nardugan".

Preparation and holding of a ritual holiday.

2 .05

5 .05

8.05

10.05

Ethnographic information

12.05

Final lesson

15.05.

Educational work

Harvest festival "Syumbul Bayramy"

28.10

Holding the holiday “Winter Nardugan”

April

Internal event “Farewell to the year of cinema.”

Holding the spring holiday “Nauruz Bayramy”

Participation in the Rainbow of Talents festival

Internal event “I am a child of nature”

Carrying out the holiday “Karga Butkasy”.

Participation in competitions and festivals.

In current

of the year

144

9 0

The Bashkirs, like many other formerly unliterate peoples of Eastern Europe. Siberia and Central Asia, created the richest folklore. Epic tales, legends, traditions, and historical songs depict historical events, the activities of individuals, the life and customs of the Bashkirs, the social life and ethnic appearance of the people. Many monuments of oral folk art contain information about the tribal composition of the Bashkirs, the migrations of the Bashkir tribes, their relationships with neighbors, etc. Of particular value as a historical, ethnographic source is the folk heroic epic of the Bashkirs, the emergence of which by A.N. Kireev refers to the period of the collapse of primitive communalism and the formation of early class relations (Kireev, 1970, p. 47). Typically, heroic plots in Bashkir creativity (“Ural Batyr”, “Kuzy-Kurpes and Mayan-Khylu”, “Kara Yurga”, “Kungyr Buga”, “Kusyak-biy”, etc.) in poetic images reproduce events characteristic of the medieval nomadic society. In this regard, these monuments provide significant material not only for restoring some pictures of the ethnic history of the Bashkirs, but also for characterizing the internal social structure and social life of society.

Legends and historical songs, often accompanied by narratives about their origins, are also often based on real historical events. Of course, the transmission of these events is heavily overgrown with mythological plots, wandering from one legend to another since ancient times, fantastic images, an exaggerated assessment of the role of individual “batyrs”, etc. But if the researcher manages to separate reliable facts from the thick layering born of the imagination of the storytellers, then in his hands there are additional sources coming from the people themselves, new facts that cannot be obtained in any other way. Such are, for example, the historical legend of the southwestern Bashkirs, conventionally called by later scribes “The Last of the Sartaev Family,” which tells the story of events in Bashkiria during the war between Tamerlane and Tokh-Tamysh (late 14th century); the epic tale “Kusyak-biy”, vividly reflecting the struggle of the southeastern Bashkir tribes for political consolidation (XIII-XV centuries?); the legend of the Bashkir-tan-Gaurs “Gabdrash-batyr”, recorded by us in 1953 and telling about long-standing Bashkir-Kazakh ethnocultural ties, and many other monuments of Bashkir folklore. Even in works with a pronounced mythological plot (“Kun-gyr buga”, “Synrau torna”, “Akbuzat”, “Bala Karga”, etc.) numerous facts and information are scattered that are of interest in terms of ethnic studies: they contain references to about the ancient Aral-Central Asian connections of a number of Bashkir tribes, about the routes of resettlement to the Urals, about family totems, tamgas, etc.

The involvement of oral folk art of the Bashkirs in broad historical and ethnographic research becomes possible thanks to successful collecting and publishing work. Back in the second half of the 19th century. a series of works appears devoted to both the publication and historical interpretation of Bashkir historical traditions, legends and epic works (Nebolsin, 1852; Lossievsky, 1883; Nefedov, 1882; Sokolov, 1898, etc.). The vast majority of these publications were carried out without observing the scientific principles of publishing sources of this kind, which naturally reduces the possibilities of their use.

The most fruitful years in terms of accumulation of folklore material were the 1930s. It was during these years that scientists, writers, teachers or simply collective farmers recorded and transferred to the fund of the Institute of History, Language and Literature the most outstanding examples of oral folk art of the Bashkirs

(epic works, legends, historical songs, tales, etc.) 8. In the post-war period, the systematic collection of folklore resumed in the late 1950s, when the Institute of Laboratory of Literature of the BFAN of the USSR again began organizing annual folklore expeditions. Expeditions over more than ten years have accumulated enormous material, but from the point of view of historical and ethnographic value it is inferior to folklore monuments collected earlier; epic works, tales, historical songs, due to changed conditions, are gradually erased from the memory of the people, and in many cases disappear completely.

Some of the collected material was published in the 1950s (Kharisov, 1954, 1959). Currently, the scientific publication of the multi-volume series “Bashkir Folk Art” has begun. The first book in the series was published, which included the most significant epic monuments of the Middle Ages (BHI, 1972). At the same time, the classification of monuments of Bashkir folklore according to the principles accepted in modern science has not yet been completed. Until recently, there were also no special studies to help understand the historical foundations of Bashkir folklore. In recent years, research in this direction has noticeably revived. Several very valuable works have appeared in which interesting attempts have been made to establish the relationship between historical reality and some subjects from medieval monuments of Bashkir folklore (Kharisov, 1965, pp. 80-110; Kireev, 1970, pp. 21-47; Mingazhetdinov , 1971). However, the study of the historical foundations of Bashkir folklore works in them has only just begun. The dating, historical and ethnographic characteristics of even the main monuments of Bashkir folk art remain unclear. The reason is not only the general difficulty of solving the problem, but also the excessive desire of researchers for one or another to connect works of folklore with specific historical facts, etc., but the main thing is the lack of development of theoretical issues related to identifying general trends in the development of folklore among former nomads at the time of the origin and formation of the largest epic monuments.Meanwhile, historical and ethnographic material which in a certain part is also folklore in nature, suggests that the degree and depth of connections between oral folk art and historical reality in different eras is different. Of course, at any time

Scientific archive of the USSR BFAN, f. 3, op. 12, d. 222, 223, 227, 230, 233, 242, 269, 276, 277, 292, 294, 298, 300, 303, 336.

During the periods of antiquity and the Middle Ages, in epic tales, folk tales, legends, etc. there was something from reality, something from fantasy. However, the heroic era, which coincided with the collapse of clans and the formation of class relations, left a particularly deep mark in the memory of the people, and people for a very long time, many centuries, eagerly listened to stories about heroes and batyrs, gradually supplementing these legends with new, more recent stories and details. Despite the strong touch of fantasy, through the powerful hyperbolic images of epic narratives and legends born of the imagination, the contours of real historical reality are quite clearly visible. Monuments of Bashkir folklore once again illustrate the deep truth of K. Marx’s words that “ancient peoples experienced their prehistory in imagination, in mythology" 9 .

While focusing on the prospects of using Bashkir folklore material as a historical and ethnographic source, at the same time we emphasize that these possibilities are still limited. In addition to the circumstances noted above, the interconnectedness of the study of history and folklore is essential here. Folklore, of course, helps to understand history, but in order to comprehend the historical origins of folklore itself and penetrate into the patterns of its genesis and development, one must know the history of the people well. Now many people recognize that the importance of folklore monuments in studying the history of peoples who were unliterate in the past is great. But folklore cannot be the only or even the main source base. Folklore can widely reveal its potential as a historical source only if it is interpreted from the perspective of sufficiently broad and thoroughly developed historical concepts. That is why in our research we avoided, despite the seemingly numerous possibilities, the use of material drawn from oral folk art as the main source in resolving issues of ethnic history. As a rule, information and observations extracted from folklore works appear in the work as additional material that helps strengthen the argumentation of certain provisions. But even in this role, folklore material in ethnogenetic studies of nomadic and unliterate peoples in the past occupies a place of honor as a historical source.

K. Marx And F. Engels. Works, vol. 1, p. 419.

Onomastic material

Onomastics as a special discipline relatively recently declared itself as a science that has broad capabilities in solving mainly ethnogenetic, historical-linguistic and historical-cultural problems. In Bashkiria, until recently, onomastics in all its manifestations (ethnonymy, toponymy, anthroponymy, etc.) developed exclusively as an auxiliary discipline. The analyzes she carried out, although of scientific interest, were, as a rule, based on randomly or arbitrarily selected examples and did little to help solve general historical problems. Held in September 1971 in Ufa III The Volga region onomastic conference revealed a completely new picture. It showed, firstly, the deep interest of scientists of the Volga region (and in particular Bashkiria) - ethnographers, linguists, historians in the development of problems of onomastics; secondly, improving the methods of analysis of onomastic material and expanding the philological background of the comparative historical examinations carried out. The reports read at the conference on ethnonymy, toponymy and anthroponymy of the Volga-Ural region demonstrated the wide possibilities of onomastics in the study of problems of ethnic history, the history of migrations, etc. The conference material (“Onomastics of the Volga Region”, 1973) was used by N.A.

At the same time, the successfully started work in the field of onomastics in terms of source studies requires further development and deepening. The value of etymological research, to which historians have always attached importance, increases if at least a relative dating of the appearance of a given name among a particular ethnic group is established. To do this, onomasts will have to base their constructions not on fragments of onomastic material. It is absolutely necessary to accumulate data on the entire ethnic group being studied and on the entire territory of its historical habitat. Only under this condition will there be a possibility of historical-chronological (or stratigraphic) division of the material and further etymological and semantic research based on systemic knowledge about the historical development of this group of names. In light of these requirements, it is necessary to note the work of A. A. Kamalov on the hydronymy of Bashkiria (1969). Currently, the Institute of Laboratory of Biological Sciences of the USSR BFAS is actively working to compile a general card index of toponymic names of the BASSR.

CHAPTER II

ACCUMULATION OF MATERIAL

BY ETHNIC COMPOSITION