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

Bulletin of the Chelyabinsk State University. 2014. No. 26 (355). Philology. Art history. Issue. 93. S. 108-114.

MAGIC FOLKLORE OF THE BASHKIRS: SPECIFICITY AND MYTHORITUAL FEATURES OF THE REPERTOIRE

The place and functions of magical folklore genres in the system of traditional culture are considered; study history. The main semantic, functional, mythological features of such ancient genres as harnau, arbau, calf, etc. are revealed, the most universal method of analysis is proposed, which allows revealing the most ancient layers of consciousness and worldview of ancestors.

Key words: magical folklore, incantations, incantations, sentences, shaman, bucks, complexity, syncretism, myth, rite.

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, the time, the possibilities of the special potentials of this code, which he resorted to, deeply believing that to say is to do. The word was the main instrument of all life, including receiving, protecting health, as well as achieving good luck and developing creative talents. The magic of the word acquired artistic functions in the epic, fairy tales, legends, songs, legends, proverbs, baits, munajats, responding to the aesthetic, spiritual needs of the people. Having practical purposes, special functions and purposes of influence, words form a conspiratorial and incantatory 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, with extraordinary abilities to master the Word, action, chants, body movements and the system of ancient teachings, the chosen ones, that is, shamans, among the Bashkirs - bucks, as well as among the Kazakhs, Kyrgyz, Turkmens1. Created over centuries of service to fellow tribesmen, the unique art of Baksy provides for a syncretic unity of mythological, cult, totemic 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 forces, propitiating deities, whose patronage contributes to the healing of the sick, favorable

changes in the weather, the expulsion of the spirit of misfortune and the invocation of the forces of good. In the system of similar traditions (Siberian, Turkic-Mongolian shamanism), the Bashkir institute of baksy, as the analysis of materials shows, is distinguished by a pronounced rational and intellectual beginning, the dominant of nature-worshipping motives, the degree 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 the ethnos, represent magical folklore. In a broad sense, the magical beginning is contained in all genres of folklore, because the creation of myths, holidays, rituals, fairy tales, epics, and so on. provides for the influence on the will of the deities, the forces of Nature, the propitiation of the spirits of ancestors, batyrs (demiurges) and the acquisition of prosperity. The process of transferring ancient knowledge as generic values had its own strict standards and regulations. So, telling fairy tales (ekiet), karhYZ (myth, epic among the Bashkirs) during the day or summer provokes a very cold and protracted winter (Beloretsky district, Zuyak village), is fraught with the wrath of powerful spirits, severe drought (Khaibullinsky district, from Akyar; Beloretsky district of the village of Birdigulovo), incorrect performance of the ceremony (yola) - prolonged rains up to floods or epizootics (Abzelilovsky district, village of Askarovo; Kugarchinsky district, village of Khudaiberdino). Verbalized myth and ritual, by their being, act as proto-forms of regulation of life events, health and art. At one time, by telling the karkhyza-myth "Ural-batyr", they treated seizures (ennengen) who had lost their minds.

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

Magical folklore in its narrow, “specialized” sense is represented by genres and genre forms that are functionally related to their intended use in rituals, healing, sacral acts. For example, in a state of deep stress, speechless women were taken out into the field and beaten on the cheeks, forcing them to scream, pronouncing special words, making body movements (Zianchurinsky district, 1998); the evil eye, snake bite, damage, etc., were spoken in a recitative-singing word. This fund of archaic knowledge, having disowned ritual complexes, has been 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 verse incantations (arbau), invocations (satafiu) of rain, wind, kut, sun, etc., harnau (appeal to the spirits of ancestors, forces of Nature, deities). Sentences (atemse), sayings (atem), omens (yrym), interpretations of dreams and events, divination-khynau (by bones, stars, stones) are a special part of magical folklore, methods of folk treatment (im-tom), mainly functioning in the unity of words. , action and tunes. The nature and intentions of these forms of creativity can be deciphered only with an integrated and multidisciplinary approach, when purely philological or ethnographic or anthropological aspects of study, in addition to descriptive ones, cannot provide objective scientific generalizations.

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

the patient is dressed in old clothes, come to the “sessions” hungry, before and after not telling anyone about the purpose (the results of healing, all the more) of his visit. Manipulations with objects operate in the 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, fallen hair, nails, broken glass, rusty nails, etc .; throwing the disease somewhere at a crossroads, they leave without looking back and throwing seven (nine according to the severity of the disease) rods across the road, first consecrating them with a prayer - this is how an invisible border is laid between this world and the other. Knowledge about the spirit is noteworthy: for example, parts of the body (nails, hair, etc.), which are the guardians of the partial soul, “take away” diseases with them, and the deadly symbolism of broken things provokes, according to the logic of magic of similarity, the same effect; Wednesday in folk beliefs is considered an auspicious day for healing acts. The semantic world of medical culture, thus, absorbs the most ancient knowledge, realities, which have gained effective experience over the course of centuries of practice. Algysh (good wishes) and kargysh (curse) have a conspiracy character, in the origins providing for the functions of a special effect of the magic of the word, 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 for pronunciation te-lyak in the past was associated with sacrifices and even replaced it. The northeastern, eastern Bashkirs still retain the custom of "calf salyu".

The ideological concept of imperative appeals of all forms (conspiracies, spells, algysh, etc.) goes back to the notion of the existence of a “master” of spheres, diseases, natural elements, and so on. Eie (master, owner) among the Bashkirs is consonant, co-semantic with the Altai, Kalmyk "ezi", Buryat "ezhin", Yakut "ichchi"2. Success in achieving the goal (conspiracy of illness, fishing, hunting, animal spells, invocations of the elements, etc.) depends on the ability and art of appeasing the "owners" and establishing "treaties" with them that require 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 a spell form, ascend

are related 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 concepts of useful magic are predetermined by the depth of knowledge, the level of natural or hereditary talent, the ability of a person to get involved in the movements of the world, to arouse the patronage of deities. In appeals to the heavenly Tengri, the master spirits of forests, fields, rivers, the four elements - water, fire, earth, air - and in wishes, the magic of the expensive word is used. In sowing work, algysh is pronounced - good wishes, the harvest is called:

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 seventy carts of flax,

Bir! Bir! Give! Give!

Algyshes, the same in design and different in function, contain good wishes, requests for assistance in successful hunting, travel, fishing, etc. (pronounced before the road, work, marriage). However, in algysh, unlike arbau, harnau does not have an appeal to deities, spirits of diseases and a desire to subordinate to one's will. As in the Yakut, Kazakh algys, Evenki alga4, good wishes are poeticized in the Bashkir algysh, the lack of hyperbolization and idealization, the image of the result (Donyats matur bullyn! Kotlo bulyn yortots!), is common.

Creativity associated with the magic of the word permeates the entire life of the Bashkir, whose basic principles of life science from time immemorial have been associated with the worship of wildlife, 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 also sound. Pronounced in a certain time, space and place in order to obtain the desired results and propitiate higher powers, created with the participation of the creativity of a special kind of person, baksy (imse, nynsy, arbausy), the works were formed as cultural texts of a magical purpose. The origins of creation and functioning go back to the deep antiquity of traditions, in the center of which there is a baksy (shaman) and his talent and destiny.

The genres of magical folklore of the Bashkirs (conspiracies, spells) became the object of scientific attention in the 19th century. The writings 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 refers them to “im-tom” (folk treatment) and “yshanyu” (beliefs), gives samples of conspiracies of diseases of the auricles (tatras), mentions the invocation of a cat (well-being ) and treatment of tremors (eisen)6.

The variety of illnesses, illnesses, troubles that occur or the need to regulate labor and life concerns determine the multi-component repertoire of incantations, invocations, wishes, which predetermined their systematization in the context of ritual folklore7. Magical folklore is traditionally classified according to the functional characteristics and forms of diseases (conspiracies of a snake, dog, evil eye, fever, etc.), the need to restore health (to care for a child in the absence of speech, walking, illness, and so on), settling labor and household worries. In the greatest systemic, completeness of descriptions of a diverse repertoire, conspiracies are presented in the work of F. G. Khisamitdinova “Bashkorttarzshch im-tom kitaba” (“The Book of Bashkir Conspiracies”)8. Magical folklore associated with traditional health care is divided into two large parts: 1) incantations of childhood illnesses; 2) conspiracies of diseases of adults. An intra-genre division is made according to the types of diseases (conspiracies of heart, bone, skin ailments; conspiracies associated with the influence of the machinations of unclean forces). In studies that fragmentarily cover the issues of magical folklore, the place and reflection of charms in fairy tales9, prohibitions10, as well as the features of existence in time and preservation in folklore memory11 are noted.

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

the approaches to the classification, 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 the practical system of specific knowledge of ancestors in physiology, anatomy and means of healing15. In the context of shamanistic, ritual complexes, the ancient origins, functions, semantics are investigated, the features of the mythopoetics of conspiracies are revealed16. Some poetic-stylistic, functional-thematic features of incantations, forms of creativity of baksy (shamans)17 have been studied, the principles and basic motivations, functional features of magical texts18 have been revealed. In the numerous works of the ethnographer Z. I. Minibayeva, who has purposefully studied this problem for many years, the system of this knowledge is restored from the perspective of a complex historical, ethnographic, typological characteristic of the activities of healers, traditional medicine is reconstructed as the original school of health care. On a large 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 in their regional, attributive specificity are given19.

A brief digression shows that a comprehensive study of magical folklore in the relationship and syncretic unity of anthropological, ethnographic, linguofol-cloristic systems, covering the ritual integrity and specifics of the architectonics of healing acts, has not yet been done. Because the incantatory repertoire is the most complex code of knowledge, the objective disclosure of the intention 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 another or only from one (lexicological, ethnographic, choreological) point of view. This method allows you to fully and comprehensively reveal the spiritual, intellectual potentials and reasonable knowledge of ancestors encoded in texts, not only in physiology, psychology and anatomy of a person, but also ideas about time, space, place and living Nature as a whole.

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

A 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 subdue, change the course of events, activated by 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 the word, action, chant. Unlike arbau, aimed at weakening the will and influence of hostile, disease-causing, also invisible and visible forces, harnau has, in addition, an appeal to the spirits of ancestors, natural forces. "Sarn" in the Turkic sphere means the song of a shaman, incantations of corruption, snakes, calls of the wind22 and is consonant with the Bashkir harnau, carrying out the ideas of the similarity of the genre. The structures of text construction in Arbau and Harnau are close, therefore there are equally functional key points expressed verbally.

The traditional structure and architectonics of arbau, all incantations (partly incantations) are presented as follows: 1. Appeal to the helper-spirit and calling by name: “Hey spirit! Water Spirit! Or: “Korkot ata! Help!" 2. Providing information about yourself (bucks declares his personality, capabilities): “I swam across the Irtysh! I swam Idel!” or “You are a snake, stronger than you I am a snake!” 3. The will of the reasons that forced us to turn to God

stvam or description of the disease. “From that (name) person, the soul flew away” or “There is an evil eye on that (name). We need to treat him." 4. Request and a specific description of the purpose of the appeal: “Return Kut! Bring back the strength! or “Cure the hernia!”, “Drive away the Tatrana”. 5. Volitional influence in order to chase the evil: “Where did you come from - go there!”, “Who sent it - return to that!” 6. The expected result is given as a fait accompli: “Healed, healed!”, “Out, ran away, ran away! Disappeared in the field, drowned in the water. 7. The final word “It was not I who healed - Allah” and gratitude to the spirits, the elements, “You - a handkerchief, I have health!”. In such a 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 of the conspiracies already exist in a truncated form, because due to the weakening of beliefs in spirits, the magic of the word (body movements, breathing, objects, etc.), conspiracy acts fall out of practice or experience the introduction of Islamic elements. So, the formulas for addressing spirits, deities are replaced by the request-reception of the blessing of Allah for medical, healing procedures. “O Allah, with your knowledge and permission, I begin treatment (Ye, Allam, Hinets rizalygshdan im item)”; “Man-cause, You are a healer, help me! (Bende-sebepse, Alla-sihetse! Yar-am um!)” (Author’s notes in the Khaibullinsky, Zianchurinsky, Yanaulsky districts of the Republic of Belarus). In the texts there are no appeals to the patrons of the family and often Islamic saints act. Very rare in conspiracies are the motives of "acquaintance" with imse and presenting oneself, one's capabilities. The idea of sacrifice fits into short phrases, such as "You - a handkerchief, I - health!". The discourses of magical praise (lure) of the object being spoken have been reduced (“A flowing river is faster than a snake!”), or they are completely absent. Such features mark the activities and characteristics of the work of rural healers imse, arbausy, which are still in almost every locality.

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

our traditions. Scolding the disease ends with the 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, “The ancient man spoke everything that had a soul. But not everyone is given this gift-craft. Only bucks could do this” (village Yumash, Baimaksky district A. Barlybaev, born in 1914, Zap. 1993). “There used to be mighty bucks. Here they shook the world! The words were sometimes incomprehensible and with melodies and tunes, they jumped, danced! (village of Lagerevo, Salavatsky district, 1994). Bashkir baksy (ba "kshi, bagyusy, bagymsy) - shamans are the creators of harnau and arbau, they possessed remarkable willpower, voice, extraordinary abilities bestowed on them by inheritance. (Due to the limited volume of the article, these testimonies, collected by the author over many years, are mentioned only fragmentarily). performed baksy are imprinted in the repertoire of magical folklore: these are incantations of animals, snakes, invocations of the Sun, rainbow, rain, etc. With the disclosure and decoding of the semantic world of this code repertoire, the acquisition of the most complete and objective evidence of archaic realities, causal 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 the Tungus-Manchurian languages / otv. ed. V. I. Tsintsius. T. 1. L., 1975.

4 Ertyukov, V. I. The era of paleo-metals in the North-East Arctic and its role in the genesis of the small peoples of the North // Languages, culture and future of the peoples of the Arctic. Yakutsk, 1993. S.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 Izhadi. Yola folklore / Tez., bash hYZ, atzlatmalar aut-ry. E. M. Seleymenov, R. E. Soltangereeva. Efe, 1995.223 b.

8 Khisamitdinova, F. G. Bashkorttardyts named after kitaba. Efe, 2006.

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

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

11 Yuldybayeva, G. V. Khezerge bashkort halyk izhadynda im-tom // Bashkort folklorynts khezerge torosho. Efe, 2012. S. 156-163.

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

13 Iskhakova, G. G. Rhythm as the main principle of the organization of the incantation text // Uralbatyr and the spiritual heritage of the peoples of the world. Ufa, 2011. S. 203-204.

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

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

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

17 Baimov, B. S. Baksy's creativity // Shonkar, 1993. No. 1. P. 28. (in Bashk.)

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

19 Minibaeva, ZI Islam and demonological ideas about diseases in folk medicine of the Bashkirs (on the material of the Kurgan region) // Ethnogenesis. Story. Culture. Ufa, 2011, pp. 162-168; Healing charms 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. Tamyrs ugata borongo bashkort. Mekeleler yyyntygy. Efe, 2009. 418 b.

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

22 Abylkasymov, B. Sh. Zhauyn Shakyru // Proceedings of the Academy of Sciences of the Republic of Kazakhstan (Kazakhstan). Philology. 1992. No. 3. S. 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 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^yö 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) "Drevnie 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, 3. 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 (na materiale Kurganskoj oblas-ti)" [=Islam and demonological ideas of diseases in traditional medicine the Bashkir (on material of the Kurgan region) ], in: Jetnogenesis. history. 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 diction-ariy. 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 fullest development during the period of feudalism, during the period of unification of fragmented tribal 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 a heroic poem - kubair. The Kubairs reflected the motives for unification and the idea of forming a single Bashkir people.

Traditions and legends, passed down from generation to generation, highlight the history of the people, their way of life, manners, 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 proficient with the bow, that is, they shoot accurately, do good deeds, and help people.

Bashkir fairy tales make fun of oppressors of the people: padishahs, khans, bais.

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

Bashkir fairy tales praise honesty and generosity, stigmatize the cowardice of those who leave comrades in trouble, call for work, the study of 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 the house to see the world, to show himself and find a use for his strength.

Fairy tales tell about various miracles, animals speak with a “human voice”, help in trouble. Magic items can change their appearance and transform into other items.

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

Comic tales are imbued with good-natured humor, stupidity is usually ridiculed in them. Often in such tales, the characters are shaitans, devas, witches, who are distinguished by unreasonable cruelty and stupidity.

Bashkir proverbs and sayings reflect the history of the people from ancient times to our time. For example, the proverb-omen "The 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 found expression in the saying "Forest - ears, field - eyes." In the proverb “A lonely man can lose his bow, but someone with a family can not lose an arrow” people express the idea that a person should live in a team. With proverbs, the people condemned the biys, mullahs, officials: “Do not go to the biy - he will come for you, do not go to the khan - he will come for your good”, “Every day is a holiday for the rich, every day for the poor - sorrow and worries.”

AGREED I APPROVE

Branch Manager Director

MBOU DO DD(Y)TMBOU DO DD(Y)T

N.E.SelivYerstov ______ L.Z. Sharipova

"___" _______ 2016 "___" _______ 2016

PLAN
EDUCATIONAL WORK
ASSOCIATIONS "BASHKIR FOLKLORE"

FOR 2015/2016 ACADEMIC YEAR

COMPILED ON THE BASIS

ADDITIONAL EDUCATIONAL
(GENERAL DEVELOPMENT MODIFIED) PROGRAM
BASHKIR FOLKLORE

Khismatullina G.G.

Bashkir teacher

language and literature

v. Salikhovo

Explanatory note

Additional general education (general developmental modified) program "Bashkir folklore" is based on:

Federal Law of December 29, 2012 No. 273-FZ “On Education in the Russian Federation”.

The procedure for organizing and implementing educational activities for 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 of Moscow)

SanPin 2.4.3172-14 “Sanitary and epidemiological requirements for the device, content and organization of the working hours 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 of the Ministry of Education and Science of the Russian Federation dated 11.12.2006 No. 06-1844 “On approximate requirements for programs of additional education for children”

Charter of MBOU DO DD (Yu) T of the city of Ishimbay of the 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 a future life, passes 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, like art in general, is multifunctional and one of the functions is educational. Folk art contains great educational opportunities, which have not yet been fully realized. This prompted me to start purposeful work on raising children on the basis of Bashkir folk art.

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

The norms of morality, enshrined in proverbs and sayings, are not only the regulator of moral relations in our people, they serve as a clear program for the moral education of the younger generation. Under their interaction, morality is formed, moral feelings develop, skills and habits are developed. What does folk wisdom require of us, speaking the language of proverbs? She teaches to respect parents, speaks of friendship and love of the family, sings of work, condemns laziness, cheating, byulud and shamelessness. The proverbs formulated folk concepts of honor and dishonor, of justice and injustice, of the duty and dignity of a person.

Acquaintance with Bashkir folklore, the best works of folk poetry (epics, kubairs, baits) help to form such character traits as humanism, diligence, 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. He teaches children and adolescents to feel the truth more subtly and deeply, to understand life situations, in the surrounding phenomena, and cultivates susceptibility to the beautiful. This is how people protect themselves. It provides, in fact, the only way to protect yourself from all, very likely in our day to hold on to their roots.

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 activity 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. The upbringing of hard work, mercy, tolerance, honesty, respect for elders, caring for the younger ones are the commandments of folk pedagogy, which serve as a kind of guide for this program, its spiritual compass.

Program novelty

Preservation of customs, folklore, music, material culture items of each locality is necessary for the preservation of the culture of the whole country. Its influence is high both on the mind and on the soul.

One of the objectives of this program is to help children to make up their minds in new living conditions, to draw attention to the history of our ancestors, to teach children to use this knowledge and experience in modern life.

Interest in culture, history, traditions of the native land has grown significantly in recent years. But children are not always interested in what an adult is interested in. For a child, information is valuable that can be perceived not only with the eyes, but also tactilely, pass information through oneself, through the history of one's family, through still preserved objects of material culture.

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

The participation of parents in the educational process is mandatory. Parents who are interested in folk art join the children's activities and take an active part in folklore holidays.

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

Program goal: to instill love and interest in their culture and art, to promote the harmonious development of the child's personality through folk art.

Program objectives:

Educational:

1) To 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 form the child's performing skills in the field of singing, movement, playing music.

Developing:

To develop and maintain interest in various aspects of the past and present 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 the Bashkir culture, for the Bashkir folklore, costume, national pride in their people, their cultural heritage.

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

To form the ability to find beauty in folk art.

Content and direction of educational activities

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

oral folklore.

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

Musical-song folklore.

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

Ethnographic information.

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

Games

It is an essential component of raising our children. This section includes music, sports and drama games.

Folk theater.

Along with folk holidays, this is the most powerful means for the child to feel himself in the culture in which he is immersed in the classroom. Playing 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 supposed to get acquainted with calendar holidays, including the preparation and holding of such holidays as "Nardugan", "Nauruz", "Sumbulya", "Crow's porridge".

Forms of conducting classes

Each lesson for each section has the following structure:

Talk on one of three topics:

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

Listening and perception of music.

Singing, dancing.

Musical-folklore games.

All these elements of classes are reflected in the calendar-thematic planning.

Class 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 gain the following knowledge:

About family traditions of the Bashkir people;

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

About the national costume of the peoples living in Bashkortostan;

About the folk calendar;

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

Learn:

Perform Bashkir folk songs;

Perform dance moves

Organize and conduct folk games.

Children will be able to develop:

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

The ability to see beauty in folk art;

adequate self-esteem.

Forms of control testing knowledge, skills and abilities.

General control is carried out at the final events of the year, where the spheres 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 the material from the section "Ethnographic information".

In the form of reporting concerts.

Results Tracking Methods

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

2) Test tasks and quizzes.

3) Interviews with children and their parents.

4) Collective creative affairs.

Objectives of the first year of study

Awaken interest in the study of the history, culture and life of the people.

Get to know local folklore.

Cultivate moral feelings.

To instill practical skills in performing folklore chants.

Educational and thematic plan of the first year of study

144

105

The content of the program of the first year of study.

Section 1. Introductory lesson. TV instruction. Acquaintance with the work plan of the circle.

Section 2. Introduction to the subject. The people are the creator of folklore. The concept of folklore. genres of folk art. Prominent folklorists. Acquaintance with folklore collections.

Section 3. Autumn.

Topic 3.1 Oral and poetic folklore. Theory . Acquaintance with 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, about harvest. Chastushki. Work on the development of vocal and choral skills. Individual lessons in voice production, work with soloists. folk choreography.

Topic 3.3 Folk games. Theory. Talk about folk games.Practice. Learning counting rhymes, games "Our beds", "Yasheram yaulyk", "Geese-swans", "Slippers".

Topic 3.4 Folk theater. Theory. Practice. Preparation and holding of the holidays "Sumbyulya-harvest festival", "Sugym ashy", "Daughters-mothers".

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

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

Topic 4.3 Folk games. Practice. Music and dance games. "Naza", "Kurai". Games for the development of intuitions "Kuresheu", "Gate".

Topic 4.4 Folk theater. Theory.

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

Section 5 Spring

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

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

Topic 5.3 Folk games. Practice. Musical games "Suma oyrak, suma kaz", "Ak tirak, kuk tirak".

Topic 5.4 Folk theater. Theory. Acquaintance with 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 stories are.Practice. reading and watching stories. Storyteller competition.

Topic 6.2 Musical folklore. Theory. talk about song genres. Labor songs. Songs-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. Collection of gifts according to the ancient custom "Solgo yiyu".

Topic 6.4 Folk 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. Construction features.Practice. Yurt decoration. Drawing sketches.

Topic 6.6 Final lesson. Theory. Testing.Practice. The 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 acquaintance with the traditions and customs of the Bashkir people.

2) Deepen previous knowledge.

Educational and thematic plan of the second year of study

p/n

Topic name

Total

hours

Theory

Practice

Introductory lesson. Safety briefing

Introduction to the subject.

The image of a bird.

Animal image.

The tree of Life.

Family and household.

Heavenly luminaries.

ethnographicIexpedition

Final lesson.

Educational work

144

114

The content of the program of the second year of study

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

Topic 2 Introduction to the subject. Theory. genres of folk art. Folklorists. New collections of folklore.

Topic 3 The image of a bird.

● Oral and poetic folklore. Theory . Artistic reading and discussion of fairy tales about birds. Acquaintance with riddles, proverbs, sayings, counting rhymes about birds.Practice. Playing fairy tales by roles. Drawing competitions - "The bird is a symbol of happiness." Bird Riddles Contest.

● 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 kubyzist, musician Zagretdinov. Watching the video "Synrau torna".Practice. Learning the dance "Synrau torna".

● Folk Games. Practice. "Geese Swans", "Goose Bridge", "Burner". Musical quiz "Folklore Islands".

Theme 4 The image of animals

● Oral and poetic folklore. Theory . Tales about animals. Acquaintance with riddles, proverbs, sayings about animals. Introduction to animal rhymes.Practice. Animal Storytelling Competition. Competition of riddles, proverbs and sayings about animals. Competition of drawings "Once upon a time". Folk omens about animals and birds.

● musical folklore. Theory. animal imagesin Bashkir folk songs. Acquaintance with the history of the Bashkir folk songs "Kara Yurga", "Akbuzat".Practice. Learned these songs. Learning the dance "Riders".

● Ethnographic information. Theory. A conversation about the lifestyle 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 harness making.

Theme 5 Tree of life

● Oral and poetic folklore. Theory. Respect for elders in everyday fairy tales. Acquaintance with riddles, proverbs, sayings about trees. Appeal to trees in the Russian people. Healing power of trees.Practice. The ceremony 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 "There was a birch in the field", the Bashkir folk song "Ak kayyn". Learning the dance "Falling Leaves". The repetition of lullabies.

● Folk Games. Practice. Repeat and play past games.

● Ethnographic information. Theory. A conversation about the ancient tradition - the compilation of a genealogical tree by each family.Practice. Shezher. Familiarization with the rules of its compilation.

Theme 6 Family and way of life

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

● musical folklore. Practice. Learning lullabies, songs about mothers, about family. Learning dances "Bishmarmak", "Three brothers".

● Folk theater. Practice. Preparation and holding of the ritual holiday "Isem tuyy".

Theme 7 Heavenly luminaries

● Oral and 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 roles. Acquaintance with 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”.

● Folk theater. 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". Contests of riddles, proverbs and sayings. Testing.

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

Methodological support

Methodological developments;

Educational program;

Magazines "Teacher of Bashkortostan"

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

Logistics

TSO: computer, speakers;

CDs with records of Bashkir folk music, songs, dances;

Costumes for competitive performances;

Elements of the Bashkir folk costume for games, dances;

Attributes for folk games, round dances, dances;

Bibliography

Burakaeva M. Bashkir culture. Ufa, 2004

Bashkir Folk Art: 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-traditions. –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 on the basis of the village of Salikhovo

p/n

Name of sections and topics

Total hours

Theory

Prak

teak

date

Introductory lesson. Rules of conduct in the classroom, on safety during the use of TCO and features of appearance.

Acquaintance with the circle plan.

16.09

Introduction to the subject.

Folk-creator of folklore.

genres of folk art.

20.09

Autumn

Oral-poetic folklore

Collectors of Bashkir folklore.

27.09

The study of folklore in Bashkortostan.G. Argynbaev, A. Kharisov, S. Galin, A. Suleimanov and others.

Riddles, proverbs about autumn.

30.09

Jokes, jokes, teasers

Folk signs, their role in human life.

30.09

Musical folklore Learning a lullaby.

4.10

Learning songs about autumn, about the harvest.

Chastushki.

7.10

Sesen creativity

Fairy tales.

10.10

Learning phrases.

Work on the development of vocal and choral skills.

14.10

Individual lessons in voice production, work with soloists. folk choreography.

18.10

Folk games. Talk about folk games.

Traditional folk games.

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

Educational games.

21.10

25.10

Reading counts.

Plot with the presence of characters and roles (“ubyrly ҡarsyҡ” - “witch”, “aiyu menan kuyandar” - “bear and hares”, “yasheram yaulyk” - “I hide a handkerchief”)

Dancing 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

Preparations for the autumn holiday "Sumbyula Bayramy".

4.11

8.11

11.11

Preparation and holding of the holidays "Sugym ashy".

Entertainment"Daughters-Mothers".

15.11

Ethnographic information

18.11

Winter

Oral and poetic folklore. Proverbs and sayings about winter.

Hfolk omensabout winter.

22.11

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

25.11

29.11

musical folklore.

Talk about folk dances.

2.12

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

6.12

20.12

Mastering the movements of folk choreography.

learningdancing « Naza» . Practicing dance elements.

Practicing movementsdancing

Practicing the whole dance « Naza» .

9.12

13.12

16.12

Folk games

Games for the development of intuitions "Kuresheu", "Gate".

23.12

folklore theater

Acquaintance with the holidays "Winter Nardugan", "Kis Ultyryu".

27.12

Holiday preparation"Winter Nardugan".

30.12

Holiday preparation"Kis Ultyryu".

6.01

Ethnographic information.

Winter work in the village.

Brownie - the owner of the house. Talk 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 according to spring signs.

Proverbs about spring.

17.01

musical folklore

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

20.01

Individual work on the production of voice, preparation of solo numbers.

24.01

Practicing the movements of folk choreography.

27.01

Round dance game songs.

Joking songs.

7.02

Folk games.

Games with the advent of spring.

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

10.02

14.02

Musical games "Suma oyrak, suma kaz". "Ak tirak, kuk tirak."

Emancipation games.

17.02

Outdoor games on the themes of fairy tales.

Bashkir folk games for the holiday.

Entertaining games.

21.02

Folk theater. Acquaintance with the holiday "Kar syuyna baryu".

24.02

28.0 2

Holiday "Kar syuyna baryu" in literature.

Rites of the life cycle.

3.03

7.03

10.03

Ethnographic information

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

Ancient crafts of the Bashkirs lasso isheu, etc.

14.03

Summer

Oral and poetic folklore. Conversation. What a delight these stories are.

My favorite fairy tale characters.

Reading and watching fairy tales.

Storyteller competition.

17.03

21.03

musical folklore. Conversation about the genres of songs.

24.03

Labor songs. Songs-dances.

Song contests, ditties.

Combining the studied elements of dance with songs.

Learning the dance "Mower-threshlka".

Practicing elements of dance.

Practicing dance moves.

Practicing the entire dance.

31.03

4.04

7.04

11.04

4 5

Folk Games.

Preparation for the 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".

Preparing and holding a ceremonial feast.

2 .05

5 .05

8.05

10.05

Ethnographic information

12.05

Final lesson

15.05.

Educational work

Harvest Festival "Sumbulya Bairamy"

28.10

Holding the holiday "Winter Nardugan"

abr

External event "Farewell, the year of cinema."

Holding the spring holiday "Nauruz Bayramy"

Participation in the festival "Rainbow of Talents"

External event "I am a child of nature"

Carrying out the Karga Butkasy holiday.

Participation in competitions, festivals.

In tech.

of the year

144

9 0

The Bashkirs, like many other non-literate peoples of Eastern Europe in the past. Siberia and Central Asia, created the richest folklore. In epic tales, legends, traditions, historical songs, historical events, the activities of individuals, the life and customs of the Bashkirs, the social life and ethnic image of the people are captured. Many monuments of oral folk art contain information about the tribal composition of the Bashkirs, about the migrations of the Bashkir tribes, their relationship with their neighbors, etc. The folk heroic epic of the Bashkirs, the emergence of which A.N. Kireev refers to the period of the collapse of primitive communal and the formation of early class relations (Kireev, 1970, p. 47). Usually heroic plots in Bashkir art (“Ural Batyr”, “Kuzy-Kurpes and Mayan-khylu”, “Kara Yurga”, “Kungyr Buga”, “Kusyak-biy”, etc.) in poetic images reproduce the events characteristic of the medieval nomadic society. In this regard, these monuments provide significant material not only for the restoration of some pictures of the ethnic history of the Bashkirs, but also for characterizing the internal social structure and social life of society.

Traditions and historical songs, often accompanied by stories about their origins, are also often based on real historical events. Of course, the transmission of these events is heavily overgrown with mythological plots that have been 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 succeeds in separating reliable facts from the thick stratification born of the storytellers' fantasy, then in his hands are additional sources emanating from the people themselves, new facts that cannot be obtained in any other way. Such, for example, is the historical legend of the southwestern Bashkirs, conditionally called by later scribes “The Last of the Sartay clan”, which tells about the events in Bashkiria during the war between Tamerlane and Tokhtamysh (end of the 14th century); the epic legend "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 the old Bashkir-Kazakh ethno-cultural 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 about the ancient Aral-Central Asian relations of a number of Bashkir tribes, about the ways of resettlement to the Urals, about ancestral totems, tamgas, etc.

The involvement of the oral folk art of the Bashkirs in broad historical and ethnographic research becomes possible thanks to successful collecting and publishing work. Even in the second half of the XIX century. a series of works appeared devoted to both the publication and the 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 made without observing the scientific principles of publishing sources of this kind, which naturally reduces the possibility of their use.

The 1930s were the most fruitful in terms of the accumulation of folklore material. 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, legends, etc.) 8 . In the post-war period, the systematic collection of folklore resumed in the late 1950s, when the IYAL BFAN USSR again began to organize annual folklore expeditions. For more than ten years, expeditions have accumulated vast material, but from the point of view of historical and ethnographic value, it is inferior to the folklore monuments collected earlier; epic works, legends, historical songs in connection with the changed conditions are gradually erased from the memory of the people, and in many cases disappear altogether.

Some of the collected material was published in the 1950s (Kharisov, 1954, 1959). At present, the scientific publication of the multi-volume series "Bashkir Folk Art" has begun. The first book of the series has been published, which includes the most significant epic monuments of the Middle Ages (BHI, 1972). At the same time, the classification of Bashkir folklore monuments 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 the Bashkir folklore. In recent years, research in this direction has noticeably revived. Several very valuable works appeared in which interesting attempts were made to establish the relationship between historical reality and some plots 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 the Bashkir folklore works in them has just begun. 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, the excessive desire of researchers to one or another to connect folklore works with specific historical facts, etc., but the main thing is the lack of development of theoretical issues related to the identification of general trends in the development of folklore among former nomads at the time of the birth and formation of the largest epic monuments. 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 are different in different eras. Of course, in any

Scientific archive of the BFAN USSR, f. 3, op. 12, 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 of reality, something of fantasy. However, the heroic era, which coincided with the collapse of tribal and the formation of class relations, left a particularly deep imprint in the memory of the people, and people for a very long time, for many centuries, eagerly listened to the stories about heroes and batyrs, gradually supplementing these traditions with new, more recent plots and details. Despite the strongest touch of fantasy, the contours of real historical reality are quite clearly visible through the powerful hyperbolized images of epic narrations and legends born of the imagination. The monuments of the Bashkir folklore once again illustrate the profound justice of the words of K. Marx that “the ancient peoples experienced their prehistory in the imagination, in mythology" 9 .

Focusing on the prospects of using the Bashkir folklore material as a historical and ethnographic source, at the same time we emphasize that so far 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 recognize that the importance of folklore monuments in the study of the history of peoples without a written language in the past is great. But folklore cannot be the only and even the main source base. Folklore can widely reveal its potential as a historical source only when it is already interpreted from the standpoint of sufficiently broadly and thoroughly developed historical concepts. That is why in our study we avoided, despite seemingly numerous possibilities, the use of material gleaned from oral folk art as the main source in solving issues of ethnic history. As a rule, information and observations extracted from folklore works act as additional material in the work, helping to strengthen the argumentation of certain provisions. But even in this role, folklore material in ethnogenetic studies of nomadic and non-literate peoples in the past occupies an honorable place 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 ample opportunities 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 carried out by her, although they were of scientific interest, were, as a rule, based on randomly or arbitrarily selected examples and did little to help solve general historical problems. Passed in September 1971 in Ufa III The Volga Onomastic Conference revealed a completely new picture. She showed, firstly, the deep interest of the scientists of the Volga region (and in particular Bashkiria) - ethnographers, linguists, historians in the development of problems of onomastics; secondly, the improvement of methods for analyzing onomastic material and the expansion of the philological background of comparative historical examinations. 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 material of the conference (“Onomastics of the Volga Region”, 1973) was used by the scholars.

At the same time, the work successfully begun 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 in the environment of 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 ethnos under study and on the entire territory of its historical habitat. Only under this condition will it be possible to make a 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 the light of these requirements, it is necessary to note the work of A. A. Kamalov on the hydronymy of Bashkiria (1969). At present, the IYAL BFAN USSR is actively working on compiling a general card index of toponymic names of the BASSR.

CHAPTER II

ACCUMULATION OF MATERIAL

BY ETHNIC COMPOSITION