Bashkir folklore as a way to develop the speech of preschoolers. Bashkir oral and poetic creativity History and modernity of Bashkir folklore

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Introduction

Bashkir oral poetry is the main form of manifestation of the spiritual culture and ideological and aesthetic views of the Bashkir people until the beginning of the 20th century, extensive in scope and diverse in genres. The rich inner world, history and way of life, dreams and aspirations of the Bashkir people are vividly reflected in his nationally original genres. The best epic genres are created by the masters of improvised artistic word sesengs.

The continuously developing and enriching oral poetic creativity of the Bashkirs served as a source and nourishing soil for national fiction, largely determined its initial development.

The purpose of this work is to analyze Bashkir oral poetry as an essential element of Bashkir folk art, analyze its main genres, identify the connection between literature and oral poetic creativity and consider the work of sesens (on the example of Buranbai Yarkeisesen and Ishmuhammetsesen).

1. BASHKIR ORAL POETRY. CONNECTION OF LITERATURE WITH ESSENTIAL POETIC CREATIVITY

Bashkir oral poetry, which in fact is the main form of manifestation of the spiritual culture and ideological and aesthetic views of the people until the beginning of the 20th century, is vast in scope and diverse in genres. In its nationally original genres - in heroic poems (kubairs) and romantic tales, historical songs and baits, fairy tales and legends, ritual poetry and takmaks, proverbs and sayings - a rich inner world, history and life, dreams and aspirations of the Bashkir people are vividly reflected .

The best epic genres were created by nameless masters of the improvised artistic word sesengs. In their work, the kubair genre has reached especially great perfection and unique national poetic originality.

Kubair (kobaiyr) is the main genre form and folk type of verse in Bashkir heroic tales. Kubairs are typologically close and related, for example, to Russian epics, Ukrainian dumas, Kazakh zhyrs, Yakut olonkho, and Caucasian Narts. Professor A.N. Kireev explains the word “kubair” as “a good, glorious song”, i.e. praise song. Indeed, the main ideological and thematic content of kubairs is connected with the glorification of the Motherland, the native Uraltau, the people and their glorious batyrs. The deep social patriotic content of the Kubayrs, their emotional strength, the words of the sesens about the protection of good and the scourging of evil, their call to the people to defend their native land in battle with enemies gave this epic genre the greatness and power of the mandate-cry of the Motherland, poetic instructions and covenants of ancestors.

In kubairs, perhaps more than in any other genre of oral and poetic creativity of the Bashkirs, the art of eloquence and folk wisdom are revealed. In the old days, yiyns (people's meetings), large celebrations and various holidays were a place to test the resourcefulness and skill of sesens. They often spoke on behalf of the people - the tribe, clan, expressed their thoughts and aspirations, yiyns unusually increased the social significance of the Kubairs. On their basis, a peculiar, as it were, independent genre of eytesh, as well as the Kazakh aitys, a poetic competition of sesens, arose.

The deep content of the kubair is achieved by a high and at the same time simple poetic form, its aphoristic sound. Unlike a song, where a semantic connection between the two halves of a stanza is not necessary, in kubair, as a rule, every poetic image, every comparison, parallelism or trope serves as a means of expressing the main idea and constitutes an organic part of the overall poetic canvas. Phenomena or objects are described in it carefully, in detail, and therefore the stanza of a kubair, even if it consists of one sentence, can include from two to twenty-four or more lines. The smoothness and uniformity of the rhythm, the obligatory rhyming of the lines ensures ease of perception.

A feature of the kubairs should also be recognized is the fact that they often use proverbs, sayings, winged expressions. Some consist almost entirely of aphoristic sayings. The most significant and original heroic tales of Kubair are “Ural Batyr”, “Akbuzat”, “Zayatulyak and Khuukhylu”, “Alpamysha and Barsynkhylu”, “Kuzykurpyas and Mayankhylu”, “Kusyakbiy”.

One of the early monuments of the Bashkir epic is the heroic poem about the Ural Batyr (“Ural Batyr”), which expresses the idea of the victory of life over death. The Ural batyr defeated Death, sacrificing his own life: he refused to drink the living water he obtained with great difficulty and sprinkled it around him to immortalize nature. People poured a high mound over his grave, from which, as the poem says, the Ural Mountains were formed, and the remains of the Ural Batyr were preserved in the form of various precious stones, gold, silver and iron.

The thematic completion of the poem about the Ural Batyr is the legend "Akbuzat". In the legends “Kuzykurpyas and Mayankhylu”, “Aldar and Zukhra”, “Kusyakbiy”, in contrast to the mythological epic, life, customs, beliefs, traditions of nomadic economy, festivities, sports competitions really act. They are full of deep lyricism, motives of love and fidelity, devotion to each other. In the evolution of the epic traditions of the Bashkir folklore, especially in the 18th - 19th centuries, there is a close interweaving and interpenetration of the kubair and historical songs and baits. Bashkir baits are usually dedicated to socio-historical events of heroic-tragic or dramatic content. For example, in the bait about Kinzekeev, the punitive torment of the village of Kinzekeevo (now the village of Petrovskoe, Ishimbai district) is told. “Bait about the Land” depicts the invasion of tsarist officials and robbers on the Bashkir lands. The artistic expressive properties of baits are determined by the combination of features in them, coming from song creativity and written poetry. The simultaneous creation and existence of songs and baits about the same important historical events later turned into a wonderful tradition of Bashkir oral and poetic creativity.

Approximately in the XVIII - XIX centuries. an extremely rich and mass form of folk poetry was finally formed - the song and musical classics of Bashkir folklore. What kind of themes and genre forms are not in this repertoire: from historical classical songs about the Motherland and batyrs (“Ural”, “Salavat”, “Azamat”, “Kakhymtyure”, “Kutuzov”, “Caravanserai”, etc.), canton chiefs (“Sibaikanton”, “Kuluykanton”, “Kagarmankanton”), about exiles (kaskyn yyrzary) - such as “Buranbay”, “Biish” to everyday, ritual songs (senlei, telek yyry) and excellent songs about the female lot (“Tashtugai” , "Zulkhizya", "Shaura", "Gilmiyaza", etc.).

Among the traditional genres of the Bashkir folk song (yyr), the uzunkyuy, the treasury of the Bashkir folk musical and poetic culture, occupies a prominent position. The national character of the Bashkir people is most deeply and comprehensively expressed in the uzunkui, their life and struggle for a brighter future are clearly reflected. That is why Uzunkyuy is at the same time a national epic: in the past, not being able to capture their eventful history in writing, the Bashkir people sought to display it in Uzunkyuy. The embodiment in a perfect form of high thoughts and feelings of the people, a high level of musical and poetic skill and, finally, the lively development of traditions in modern conditions, all this allows us to call the Uzunkyuy the Bashkir folk musical and poetic classics.

In all its forms and genres, Bashkir song and musical creativity truly reflects the life of the people, their customs and beliefs, thoughts and aspirations. The song both consoled and inspired a person. The song treasury, enriched over the centuries, has absorbed the wisdom and spiritual beauty of the people. The features of the artistic self-consciousness of people of the most ancient period are reflected in fairy tales. In the Bashkir epic, fairy tales, household and animal tales are most richly represented. Fairy tales reflect the fear and surprise of a person before the incomprehensible forces of nature, show the struggle of a person with these forces, their overcoming. The rich nature of the Urals - an abundance of mountains, forests, waters - could not but amaze the imagination of a person, but arouse the desire to find a feasible explanation for incomprehensible phenomena. The main characters of the Bashkir folk fairy tales are: azhdaha, yukha, div (or diyu, due), peri, gin, myaskay - evil spirits and creatures hostile to people. Among the positive characters, the winged horse Tulpar stands out - the faithful servant of the fairy-tale hero and the huge bird Samregosh, who saves the hero because he saves her chicks from azhdaha (dragon). The fairy-tale tradition has also developed a whole range of magical items that make it easier for the heroes to do their deeds.

The most widely used of them are the self-cutting sword, the self-cutting ax, the invisible hat, water, which adds or subtracts strength; a scallop from which a forest grows; a mirror that turns into a lake (river, sea); kurai, from which blood drips if the hero is in trouble, or milk - if the hero is lucky; healing herb; clothes that do not wear out; bread that never ends, etc.

Bashkir household tales more fully and directly reflect social life, social relations; they acquaint with bygone times, introduce into the atmosphere of nomadic life, into the life of hunters, cattle breeders. At the same time, the wit of the people was more clearly reflected in them, their satirical laughter was brought to us.

The heroes of everyday fairy tales reflect the vital interests of the people in their actions, they act as detractors of untruth. Fairy tales always end with the return of the hero to his homeland with victory. The attitude of the hero to his native land is clearly expressed in the saying: “It is better to be an ultan (sole) in the homeland than a sultan in a foreign land,” which often serves as the ending of fairy tales of the household cycle. This sublime feeling of love for his homeland and longing for it captures the hero the stronger, the farther he goes from his homeland. So, in one of the tales, the king decided to marry his daughter to someone who would climb to the top of a very high pillar with a glass of water on his head and calmly go down. The hero of the tale fulfilled this condition. He reached the very top of the pillar, the water from the glass did not spill, but tears flowed from his eyes: the batyr saw his native land from there, and sadness attacked him.

Characteristic for the Bashkir oral folk art are various riddles and kulyamas (jokes). Each significant phenomenon of life found a peculiar reflection in riddles. In ancient times, it was forbidden to pronounce certain words. For example, our ancestors believed that if you pronounce the word “bear” (ayyu), then this beast will appear and harm people. Therefore, they called him a figurative word - "olatai" (grandfather). Riddles gradually formed from such forbidden words and expressions. Kulyamas is one of the genres of folk art: a work with witty content, based on an original event with an unexpected ending, i.e. kulyamas (joke) - a short oral story about a funny incident.

The continuously developing and enriching oral poetic works of the Bashkirs served as a source and nourishing soil for national fiction, largely determined its initial development.

Oral poetic classics and now continues to deliver aesthetic pleasure. The lively development of the traditions of the verbal and musical art of the Bashkir people, its exceptional role in the formation and growth of the Bashkir culture is evidenced, in particular, by the fact that its development is largely based on the widespread use of the richest folklore.

2. SESENS. BURANBAYARKEY (1781-1868), ISHMUHAMMET (1781-1878).

Sesen - Bashkir folk poets, improvisers and singers. They improvise in the form of song recitative to the accompaniment of the dumbyra.

Sesen competitions were held at yiyins. Sesaengs were considered among the people as the most respected personalities. They were not limited only to poetic creativity, but were active public figures: they were keenly interested in the life of the people, they always found themselves in the thick of important historical events, with a fiery poetic word they called on the people to actively fight for their spiritual freedom. In the kubair “Dialogue between Akmurzysesen and Kubagushsesen” (“Akmyrza sesen menen Kobagosh sesenden eyteshekene”), the social ideal of sesen is expressed: “He does not protect evil, he does not spare the enemy, he loves justice, the grief of the country is on his lips, the joy of people is in his songs ". Some sesens were participants in peasant demonstrations on the territory of Bashkortostan, and the poet improviser Salavat Yulaev was the leader of a large peasant movement. The names of many talented sesens of the 14th-18th centuries, closely connected with the history and spiritual culture of the Bashkirs, have been preserved: Khabrau, Yerense, Kubagush, Karas, Makhmut, Baik, Aidar, and others. 19 - beg. 20th century their traditions were continued by Ishmuhammet Murzakaev, Gabit Argynbaev, Khamit Almukhametov, Sabirian Mukhametkulov, Shafik Aminev Tamyani, Valiulla Kulembetov. In the post-war years, the works of M. Burangulov, F. Davletshin and S. Ismagilov were most popular; they were awarded the title of People's Sesens of Bashkortostan. Now the traditions of sesengs are being actively revived.

Approximately in the 15th - 16th centuries, the legendary Khabrau lived - one of the first Bashkir sesens, whose names have survived to this day. In his improvisations, he sang of his native Ural, called on the people to protect it from foreign invaders. As modern scientists note, the name of the outstanding Habrausesen was then known from the Urals to Altai.

BURANBAYARKEY(1781-1868)

"Buranbay" is a Bashkir historical folk song Uzunkyuy. It was recorded in different years in the regions of residence of the Bashkirs S.G. Rybakov, M.A. Burangulov, G.S. Almukhametov, S.Kh. Gabyashi, A.S. Klyucharev, I.V. Saltykov, K.Yu. Rakhimov, L.N. Lebedinsky, F.Kh. Kamaev and others. "Buranbai" was processed by composers H.F. Akhmetov, M.M. Valeev, Rakhimov. The emergence of the song and legends about Buranbai is associated with the name of the folk singer-improviser and kuraist Buranbai Kutusov (Buranbai Yarkeisesen), yurt foreman of the 6th Bashkir canton (now the village of Stary Sibai, Baimaksky district of the Republic of Belarus). The song reflects an event in Kutusov's life, when he was exiled to Siberia in 1820, together with his colleague Aisuak Ibragimov, on false charges. The tune of the song is masterfully ornamented, the melody has a large range (more than two octaves). The performance of "Buranbai" testifies to the special talent and maturity of the singer and musician. M. Khismatulin, I. Sultanbaev, A. Sultanov, S. Abdullin, F. Kildiyarova, M. Gainetdinov are considered the best performers of Buranbai. The tune of "Buranbay" was used in Akhmetov's suite for violin and piano (1940), in the ballet "Crane Song" by L.B. Stepanova (1944).

ISHMUHAMMETSESEN(1781-1878)

Ishmuhammetsesen is a pseudonym, the real name and surname of this sesen is Ishmuhammet Murzakaev. He was born in 1781 in the village of Novo-Balapanovo, Verkhneuralsky district, Orenburg province, now the Abzelilovsky district of the Republic of Belarus. He died in 1878 in the same place. Ishmuhammet sesen is an outstanding Bashkir storyteller, singer and kuraist. According to legend, he is the author of the songs “The Ringing Valley” (“Sandy Uzek”), “The Fugitive Yulty” (“Yulty Karak”), “Buzykaev”, etc. In military service he was a kuraist under the head of the 9th Bashkir canton of the Orenburg province Kagarman Kuvatov , as well as under the Governor General of the Orenburg province V.A. Perovsky.

Ishmuhammet sesen had a great influence on the work of subsequent sesens and kuraists, in particular on Gabitsesen. Sesens of each generation were worried about the fate of the people, their plight, they called for loyalty to the best human qualities developed by the working masses for many generations. The poetic works of oral authors were distinguished by the significance of the content, the depth of thought, and the apt imagery of the language. Some lines from their improvisations later became folk proverbs and sayings. Loving and respecting the work of sesengs, the people also expressed their attitude towards them in proverbs and sayings. There are, for example, such aphorisms:

Hold your tongue in front of a seseng.

The greatness of a seseng is in his poetic word.

Sesaeng's word is for everyone.

The oral poetry of sesengs must be able to distinguish from folklore. Folklore - folk oral poetry - is also distributed orally. But it does not have a specific author, but is formed collectively. And in oral literature, the worldview of any individual author - a sesen improviser - is clearly expressed.

Conclusion

Oral and poetic creativity of the Bashkir people is the history of this people. It began from ancient times and for centuries it has been and is the center of the soul of the people, reflecting the thoughts and aspirations of the people. People never stop their creativity. When there was no written language, people created orally. Fairy tales and stories, sayings and proverbs spread by word of mouth. They also passed from generation to generation. In the transition from storyteller to storyteller, they were enriched and improved. The works of sesens and individual masters of the word, spreading over the centuries among people, became the works of the people themselves.

Folklore teaches people to live. Calls to always be honest and decent. Calls to understand the beauty of the world. Learns to follow the example of the good and avoid the bad. Hails the greatness of the struggle for the happiness of the people. The continuously developing and enriching oral poetic creativity of the Bashkirs served as a source and nourishing soil for national fiction, largely determined its initial development. Oral poetic classics and now continues to deliver aesthetic pleasure. The lively development of the traditions of the verbal and musical art of the Bashkir people, its exceptional role in the formation and growth of the Bashkir culture is evidenced, in particular, by the fact that its development is largely based on the widespread use of the richest folklore.

Bashkir sesen folk art

List of used literature

1. Kharisov A. I. Literary heritage of the Bashkir people. Ufa, 2013.

2. Kireev A. N. Bashkir folk heroic epic. Ufa, 2014.

3. Bashkir folk epic. M., 2014.

4. Bashkir traditions and legends. Ufa, 2013.

5. Bashkir folk art. T.1. Epos. Ufa; T. 2. Traditions and legends. Ufa; T. 3. Heroic tales. Ufa; T.4. Fairy tales and fairy tales about animals. Ufa; T. 5. Household fairy tales. Ufa; T.6. Comic tales and kulyamyasy. Ufa; T. 7. Proverbs, sayings, signs, riddles. Ufa.

6. Bashkir folk tales. Ufa, 2013.

7. Khisametdinova F. G. and others. Native Bashkortostan. Ufa, 2014

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Definition of the concept of "genre" and its features in folklore

The English word "folk-lore" is translated into Russian as "the wisdom of the people", "folk knowledge", ethnology. The term was proposed by the scientist V.I. Toms in 1846 as a definition of the spiritual culture of the people and to refer to works of oral poetry. The science that studies this area of \u200b\u200bresearch is called folkloristics.

Domestic science, considering traditional vocal genres, refers to their main features: the oral existence, the collectivity of the creative process, the multivariance of embodiment. Works of musical and poetic creativity are distributed only by word of mouth from one performer to another, which makes it possible to ensure the continuity and continuity of the collective creative act. Academician D.S. Likhachev, considering this phenomenon, pointed out that "in folklore works there can be a performer, narrator, narrator, but there is no author, writer as an element of the artistic structure itself" . The noted sign suggests a variability of interpretation. Passed from mouth to mouth, changing the time and place of existence, the works of folk musical creativity were subjected to more or less significant transformations due to their improvisational nature.

In addition, folklore has a social value, manifested in its cognitive, aesthetic, ideological and educational values. However, not all works are truly folk. V.P. Anikin argues that "folklore can only be called a work that has acquired content and form in the process of life among the people - or as a result of repeated acts of retelling, singing ...".

The morphological structure of folklore is also peculiar, the specificity of which lies in the ability to combine the features of several types of art: music, poetry, theater, dance.2

In domestic science, there are different opinions about the scope of the concept of "folklore" and its structure. Some scientists believe that it includes art forms that have a materially loose form of imagery: V.E. Gusev, V.Ya. Propp, S.N. Azbelev. Another group of researchers claims that it incorporates materially unfixed (music, literature, choreography, theater) and materially fixed types of art: M.S. Kagan, M.S. Kolesov, P.G. Bogatyrev.

According to M.S. Kolesov, for example, works of folk art necessarily carry a practical function, determined by the material side of life. This implies the conclusion that architecture, fine and decorative arts, with a broad interpretation of the word, also belong to folklore.

However, when considering the song genres of folklore, one should pay attention to materially loose art forms.

So, M.S. Kagan believes that folklore has two types: "musical" and "plastic" (or "technical"). They are heterogeneous and include different forms of creativity: verbal, musical, dance [PO]. V.E. Gusev argues about the syncretism of folklore.

One gets the impression that folklore is a historically passing art. However, this can be refuted based on the duration of its existence along with professional art. At the same time, folk forms of creativity at a certain stage of development, having overcome syncretism, acquired independence, formed into separate types. And each of them can reflect reality by its own specific means. For example, prose is realized in oral poetry, textless music - in musical folklore, ornamental dance - in folk choreography.

According to M.S. Kagan, materially unfixed types of art differ according to the principles of species formation: 1) the form of existence (temporal, spatial and spatio-temporal); 2) the material used (word, sound, plastic, etc.); 3) type of sign system (pictorial and non-pictorial).

In this case, the types of folk art (“music”, “plastic” and “syncretic”) do not correspond to the principles put forward by M.S. Kagan, since they include forms of folk art that have different temporal and space-time characteristics, use a variety of material, as well as pictorial and non-pictorial types of sign systems.

It should be noted that the criterion of syncretism of folk art types proposed by philologists also cannot be considered as the only possible sign of the morphology of folklore, because syncresis is also found in professional creativity. Materially fixed and non-fixed types of art abound with such examples: cinema - in professional art, architecture - in folk art, theater and choreography - in professional and folk art. Their difference is manifested, according to A.S. Sokolov, in the nature of synthesis. Primary synthesis - in folklore, secondary - in professional art (return to syncresis or stage of new synthesis). Consequently, syncretism is one of the signs of folklore, but not its morphology.

Issues of Genre Classification in the Works of Researchers of Bashkir Folklore in the Last Quarter of the 19th Century

In the second half of the XIX century. the interest of local historians, philologists, ethnographers and musicologists in the rich culture of the Bashkirs, in the problem of fixing and systematizing samples of folk musical creativity, has increased. Early scientific research in the field of Bashkir folk music was associated with the names of the folklore historian R.G. Ignatiev, collectors of Bashkir and Tatar folk songs G.Kh. Enikeeva and A.I. Ovodov, Russian musician and ethnographer S.G. Rybakov.

In 1875, in the “Notes of the Orenburg Department of the Russian Geographical Society” (issue Z), an article by the archaeologist, ethnographer R.G. .

The work is interesting, on the one hand, as a historical and ethnographic study of the region, and on the other hand, it is important for the study of the musical and poetic folklore of the Bashkirs. It retells the content of the songs. R.G. Ignatiev was the first among researchers to make an attempt to determine the musical and poetic features and genre varieties of Bashkir folk songs. The material for the article was samples of folk songs of the Bashkirs, recorded by R.G. Ignatiev in Troitsk, Chelyabinsk and Verkhneuralsk counties. Expeditions were carried out by order of the Orenburg department of the Russian Geographical Society from 1863 to 1875.

Of the unpublished handwritten materials of the late 19th century, the collection of the Orenburg teacher G.Kh. Enikeev "Old Bashkir and Tatar songs (1883-1893)" .

As musicologist L.P. Atanov, during trips around the Volga, Urals, Kazan, Orenburg, Samara, Ufa provinces G.Kh. Enikeev memorized tunes, recorded texts, stories and legends of song creation, and A.I. Ovodov lectured them.

Subsequently, 114 entries by G.Kh. Enikeeva and A.I. Ovodov were edited by the folklorist-composer K.Yu. Rakhimov. So, in 1929, a handwritten collection was compiled, which included, along with 114 notations by A.I. Ovodov, 30 recordings of lingering folk songs performed by G.Kh. Enikeev and ioted by K.Yu. Rakhimov. The work was being prepared for publication in Bashkniggtorg.

The classification of songs by G.Kh. Enikeev is carried out taking into account national, thematic and melodic features. On the first, national basis, the collection highlights Bashkir, Tatar, "Meshchersky", "Tepter", "Turkic" songs.

According to the thematic and melodic features, the songs are divided into nine "categories" (i.e., genre groups): 1) old drawn-out mournful, including historical ones; 2) especially popular household songs; 3) popular love songs; 4) wedding songs; 5) ditties (takmaks); 6) laudatory songs; 7) satirical songs; 8) soldier songs; 9) religious folk songs 4.

However, in the introductory article of the collection G.Kh. Enikeev added an independent group of songs called "plowman's songs, labor songs".

For the convenience of reading musical material, the author proceeds from the principle of combining national and genre features. For example, the collection contains: Bashkir folk songs - 34, Tatar - 10, "Tepter" - 1, including out of 10 Tatar wedding songs - 8, "Meshchersky" - 1, "Tepter" - 1, etc.

Justifying this division, G.Kh. Enikeev and K.Yu. Rakhimov indicate that "when all the melodies were divided into groups according to nationalities, these melodies had to be classified according to their content into groups in order to determine how many and what varieties are in the collection for each nationality" .

According to the system of G.Kh. Enikeev, not all previously noted genre groups are provided with specific musical examples. So, three “categories” are assigned to the Bashkir folk songs (lingering, household, love). In the section of Tatar folk songs, to these "categories" are added: wedding, laudatory, satirical, soldier's songs and ditties (takmaks).

Religious and folklore songs (bytes, munajats) are classified as "Turkic". About this group of songs G.Kh. Enikeev wrote: “These poetic and poetic works, in terms of their content and character, as stated in addition in the Turkic language with an admixture of Arabic, Persian words, are completely different both in tune and in words from the songs of the Bashkirs and Tatars given in my collection, and therefore , I believe, it will be more expedient if you wish to publish them as a separate issue.

Proposed by G.Kh. Enikeev's classification attracts by the genre diversity of the collected material and the use of various principles of systematization. In the collection, folklore genres are delimited by thematic, aesthetic and social features. The collector also selected the most common songs of the late 19th century: “old lingering mournful”, “especially popular everyday”, “popular love” “categories” and ditties.

It should be noted that the names of the songs given in the table of contents of the G.Kh. Enikeev, written in Latin and Arabic letters5.

The joint work done by G.Kh. Enikeeva, A.I. Ovodov and K.Yu. Rakhimov in the field of collecting, studying and promoting Bashkir and Tatar folk melodies has not lost its significance even today.

Among the researchers of the Bashkir musical folklore of the late 19th century, the work of the Russian ethnographer, musician S.G. Rybakov "Music and songs of the Ural Muslims with an outline of their life" (St. Petersburg, 1897). It was the only publication in Tsarist Russia devoted to Bashkir folk music.

Calendar ritual folklore

Historical data on the calendar rites and holidays of the Bashkirs are contained in the works of Ibn-Fadlan (921-923), I.G. Georgi, I.I. Lepekhina, S.G. Rybakov. Of particular interest are the works of scientists of the early and second half of the 20th century: SI. Rudenko, N.V. Bikbulatova, S.A. Galina, F.A. Nadrshina, L.N. Nagaeva, R.A. Sultangareeva and others.

As you know, the calendar cycle of rituals reflected the annual change of seasons. In accordance with the time of year, this cycle was divided into spring-summer and autumn-winter rites, and the boundaries between them were conditionally marked by the periods of winter and summer solstices.

The holiday "Nardugan" ("Nardugan") was called among the Bashkirs, Tatars, Mari, Udmurts - "nardugan", Mordovians - "nardvan", Chuvash - "nardvan", "nartvan". The word "nardugan" means the Mongolian "naran" - "sun", "birth of the sun" or indicates the Arabic origin of the root "nar" - "fire".

The winter holiday "Nardugan" began on December 25 and lasted for seven days. Twelve girls, symbolizing the twelve months of the year, organized games in a house specially designated for the holiday and on the street. Participants brought gifts and gifts with them. It was considered a prerequisite to express good wishes to each other. During the summer "Nardugan" from June 25 to July 5, it was not allowed to cut cattle, cut down forest, mow grass, that is, to have any negative impact on nature. For the holiday, seventy-seven kinds of flowers were collected and lowered into the river, waiting for the safe arrival of summer. The New Year's holiday "Nauryz" ("Nauruz") was celebrated on the day of the spring equinox from March 21 to 22 and had "points of contact with the archaic rites of the peoples of the East". At “Nauruz”, young people, led by one of the senior organizers, went from house to house, collecting cereals for a joint meal, gifts for winners of sports competitions, as well as competitions of singers, instrumentalists and sesens. Important for the villagers was the blessing of an elderly person (fatiha alyu). The most ancient folk holidays of the Bashkirs were called: "Rook porridge", "Rooks' holiday", "Kukushkin tea", "Sabannaya water" and others. "("Feast of the Rooks"). The names of the rites are based on a combination of words: "kapFa" - a crow (rook); "bugka" - porridge, "tui" - wedding, feast, holiday, celebration. According to R.A. Sultangareeva, the etymology of the word "tui" means a celebration in honor of nature and man. From this it follows that the holiday "Karga tui" should be understood as a symbol of "the birth of a new natural phase".

The organizers and main participants in them were women, girls and children. This manifested the echoes of matriarchy in the social structure of the ancient Bashkirs. The architectonics of spring folk holidays is of the same type and consists of the following stages: 1) collecting cereals from farmsteads; 2) decoration of trees with colored ribbons and shreds of fabrics (suklau - make the tree branchy); 3) preparation of ritual porridge from the collected cereals; 4) a joint meal; 5) holding games and competitions, driving round dances, performing ritual songs and dances; 6) feeding the birds with ritual porridge. "Treats" were laid out on leaves and stones, they were smeared with tree trunks. The ritual actions of the rite participants were accompanied by the performance of exclamations, calls, invocations and good wishes (ken toroshona telekter).

In the exclamation-cry "Crane", elements of imitation of bird voices are conveyed by short motivic constructions based on iambic rhythmic grids, consisting of a combination of short and long beats: JVjJPd,12 When the exclamation-cry is sung intonation, the last syllable is accentuated in the word.

The end of sowing was accompanied by rituals designed to influence natural phenomena with the help of conspiracies, sentences, the execution of invocations and the reading of prayers: “Pouring water”, “Sabannaya water” or “Rain porridge”, “Expressing wishes”, “Call fire from a tree” .

The rite "Call fire from a tree" (arastan ut CbiFapbiy) was held in the summer in a dry year. Between the two pillars a maple crossbar was installed, which was once wrapped with a rope. The participants of the ceremony, holding the ends of the rope, alternately pulled it towards them along the crossbar. If the rope began to smolder, then rain was expected for seven days. Or the rite was repeated anew.

The most ancient calendar holidays Iiyin and Maidan were of great importance in the social structure of the Bashkirs. The etiquette of the holidays required the obligatory invitation of guests, and their dramaturgy included: 1) preparation of the square, fundraising; 2) organization of sports competitions; 3) a joint meal, treating guests; 4) performances of folk singers, instrumentalists, dancers; 5) evening games of youth. Outwardly similar in form, the holidays differed in their functional purpose. “Maizan” (“maidan” - square) is a celebration of the onset of summer. "Yiyin"14 (meeting) is the name of a large meeting, a congress of tribes and clans, at which important political and economic issues were discussed, national competitions, games were organized, and traditional competitions of kuraists and singers took place.

labor songs

One of the oldest genres of oral musical and poetic folklore are labor songs, choruses, (khezmet, kesep YYRZZRY hdM

Iamaktara). Performed in the course of work, to achieve a "working rhythm". The functional significance and organizing role of these genres were considered by domestic researchers: E.V. Gippius, A.A. Banin, I.A. Istomin, A.M. Suleimanov, M.S. Alkin and others. The German musician Karl Bucher in his work “Work and Rhythm” (M, 1923) noted that “where a large number of people gather to work together, it becomes necessary to organize, streamline their actions” . The area of labor songs and choruses can be conditionally divided into three groups: 1) chorus songs that organize the labor process, requiring simultaneous efforts from workers, rhythmically organized action (mill builders, timber raftsmen, and others). 2) songs performed in the process of labor. It is customary to call this group "songs dedicated to labor", since they reflect "not so much the nature of labor as the mood of the performers (those who participate in it) in the context of their way of thinking and worldview". 3) labor songs of certain professions: shepherd's, hunting, carpenter's, songs of lumberjacks, timber rafting and others.

Thus, the main function of labor songs is to organize labor, and joint singing serves as a means of increasing its intensity.

A distinctive feature of labor songs are various intonation-verbal exclamations, cries: “pop”, “eh”, “uh”, “sak-suk”, “tak-knock”, “shak-shuk”, etc. Such command words convey "the most expressive expression of labor tension and its discharge."

It should be noted that the exclamation "pop" is not an artificially attached component that contributes to the expansion of the volume of the melody (up to 3 measures), but a necessary element of musical construction, since the melody ends on the main foundation of the pentatonic fret (f). The poetic text uses a parallel rhyme (aabb), a four-line stanza has an eight-syllable structure.

During the ceremony “Tula 6aqt iy” (“Felt Making”), the hostess laid out the wool on the plane in an even layer. The rest of the participants covered it with a large piece of cloth and rolled it up. The wrapped felt was then rolled for two hours. In the second part of the ceremony, the felt was cleaned of fine woolen pile and dipped in running water and hung to dry. At the end of the work, the owners of the house treated the assistants. Felt making required great physical effort from the participants, so all stages of work were accompanied by comic songs and dances.

One of the most ancient genres of Bashkir oral and poetic creativity is kobaiyr (kubair). Among the Turkic peoples (Tatars, Uzbeks, Turkmens, Tajiks) the heroic epic is called a dastan, among the Kazakhs - a dastan or a song (zhyr), among the Kirghiz - a dastan, an epic, an epic poem19.

As scientific research shows, the more ancient name of the epic legends of the Bashkir people correlates with the term "ulen", and later "kubair".

According to F.I. Urmancheev, the terms "dastan" and "kyissa" are borrowed from Eastern literature and are used "to denote the epic genre of literature and folklore" .

In the works of the Bashkir poet-educator, researcher-local historian of the 19th century M.I. Umetbaev under the term "9LEN," epic works performed in a chant are indicated. In particular, in 1876 M.I. Umetbaev wrote: “Ulen is a legend, that is, an epic. However, since the time of the strengthening of power and the close relationship of the Bashkirs with neighboring peoples, the songs of the “Ulena” have taken shape in four-line rhymes. They sing about love, praise and gratitude to the guests ... ". Confirming the above, the researcher in one of his publications cites under the definition of “ancient Bashkir uleny” an excerpt from the epic legend “Idukai and Muradym”20.

Previously, this term was used by local historian M.V. Lossievskiy. In one of his works, he mentions the existence in Bashkir folklore, along with traditions and legends, of "Ulens". Scientist folklorist A.N. Kireev suggests that the term was borrowed from Kazakh folklore.

In Bashkir literature and folklore, initially the poetic part of the epic legend was called kubair, in some regions it was called irtyak (plots with a predominance of fairy-tale elements). The word "kobayyr" is formed from the merger of the words "koba" - good, glorious, worthy of praise and "yyr" - song. Thus, "kobayyr" is a glorification song for the motherland and its batyrs.

In Russian folklore, there is no consensus on the time of the emergence of epic monuments: Kubairs and Irtyaks. Researchers A.S. Mirbadaleva and R.A. Iskhakov-Vamba, associate their origin with the period of tribal society. However, A.I. Kharisov attributes the emergence of epic tales "to the times preceding the Mongol conquest of Bashkiria, to the period when signs of feudalism began to be clearly manifested among the Bashkir tribes ...". The impetus for the creation of Kubairs was the historical need to unite disparate tribes into a single nationality with a common economy and culture.

Of interest is the statement of G.B. Khusainov about the time of creation of the epic monuments of the Bashkir people. In particular, he points out that “... in the Kipchak, Nogai tribes of the Turkic peoples, the concept of “yyr” meant the currently used “epos”. Kazakhs, Karakalpaks, Nogais still call their national heroic epics "zhyr", "yyr".

It is possible that in the Nogai period (XIV-XVI centuries), the Bashkirs under the term "yyr" meant epic works, and therefore their performers were popularly called "yyrausy", "yyrau".

An early thematic classification of the works of the Bashkir epic belongs to A.N. Kireev. The scientist, based on the subject matter, divided the heroic epic into Irtyaks about batyrs, Irtyaks, setting the people against the conquerors and everyday Irtyaks. Researcher A.S. Mirbadaleva groups epic tales according to “the most important stages in the development of the social consciousness of the Bashkirs”: 1. epic tales related to the attitude of the ancient ancestors of the Bashkirs: “Ural batyr”, “Akbuzat”, “Zayatulyak and Khuukhylu”; 2. epic tales telling about the struggle against foreign invaders: “Ek Mergen”, “Karas and Aksha”, “Mergen and Mayankhylu”, and others; 3. epic tales depicting intertribal strife: “Babsak and Kusyak” and others; 4. epic tales about animals: "Kara yurga", Kangur buga", "Akhak kola". The legends relating to the general Turkic epic monuments stand apart: “Alpamysha and Barsynkhylu”, “Kuzyikurpes and Mayankhylu”, “Takhir and Zuhra”, “Buzeget”, “Yusuf and Zuleikha”.

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

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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/p

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/p

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

Bashkir folklore as a way to develop the speech of preschoolers. Bashkir oral and poetic creativity History and modernity of Bashkir folklore

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