Musical folklore of the Bashkir people. Bashkir oral and poetic creativity

Chapter I. The theory of genre classification of folklore works.

1.1. Definition of the concept of “genre” and its characteristics in folklore.

1.2. Varieties of genre classification of musical and poetic folklore.

1.2.1. Combining works of folklore by type of poetry: epic, lyric, drama.

1.2.2. Ritual and non-ritual genres.

1.2.3. On the role of folk terms in the genre classification of musical and poetic folklore.

1.2.4. Types of genre classification based on various criteria.

Chapter II. Sources on the genre classification of the musical and poetic heritage of the Bashkir people.

2.1. Issues of genre classification in the works of researchers of Bashkir folklore of the last quarter of the 19th century.

2.2. Genre classification of Bashkir oral, poetic and musical creativity in the works of scientists of the first half of the 20th century.

2.3. Publications in the field of Bashkir folklore of the second half of the 20th - beginning of the 21st centuries.

Chapter III. Ritual genres of the musical and poetic heritage of the Bashkir people.

3.1. Calendar ritual folklore.

3.3 Children's ritual folklore.

3.4. Bashkir wedding folklore.

3.5. Funeral lamentations of the Bashkirs.

3.6. Recruitment songs-lamentations of the Bashkirs.

Chapter IV. Non-ritual genres of the musical and poetic heritage of the Bashkir people.

4.1. Labor songs.

4.2. Lullabies.

4.3. Kubairs.

4.4. Munazhaty.

4.5. Bytes.

4.6. Drawing songs “ozon kui”.

4.7. Fast songs “kiska kui”.

4.8. Takmaki.

Introduction of the dissertation (part of the abstract) on the topic “Bashkir folk music and poetry: Questions of classification”

Conclusion of the dissertation on the topic “Folkloristics”, Akhmetgaleeva, Galia Batyrovna

List of references for dissertation research Candidate of Philological Sciences Akhmetgaleeva, Galiya Batyrovna, 2005

Please note that the scientific texts presented above are posted for informational purposes only and were obtained through original dissertation text recognition (OCR). Therefore, they may contain errors associated with imperfect recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.

Introduction

Chapter I. The theory of genre classification of folklore works 12

1.1. Definition of the concept of “genre” and its characteristics in folklore 12

1.2. Varieties of genre classification of musical and poetic folklore 20

1.2.1. Combining works of folklore by type of poetry: epic, lyric, drama 21

1.2.2. Ritual and non-ritual genres 26

1.2.3. On the role of folk terms in the genre classification of musical and poetic folklore 30

1.2.4. Types of genre classification based on various criteria 34

Chapter II. Sources on the genre classification of the musical and poetic heritage of the Bashkir people 39

2.1. Issues of genre classification in the works of researchers of Bashkir folklore of the last quarter of the 19th century

2.2. Genre classification of Bashkir oral, poetic and musical creativity in the works of scientists of the first half of the 20th century in 46

2.3. Publications in the field of Bashkir folklore of the second half of the 20th - beginning of the 21st centuries 50

Chapter III. Ritual genres of the musical and poetic heritage of the Bashkir people 69

3.1. Calendar ritual folklore 71

3.3 Children's ritual folklore 78

3.4. Bashkir wedding folklore 83

3.5. Funeral lamentations of the Bashkirs 92

3.6. Recruitment songs-lamentations of the Bashkirs 95

Chapter IV. Non-ritual genres of the musical and poetic heritage of the Bashkir people 100

4.1. Labor songs 100

4.2. Lullabies 104

4.3.Kubairs 106

4.4. Munazhaty 113

4.5. Bytes 117

4.6. Lingering songs “ozonkuy” 124

4.7. Quick songs “kyskakuy” 138

4.8.Takmaki 141

Conclusion 145

List of used literature

Introduction to the work

Folk art has its roots in the invisible past. The artistic traditions of early social formations are extremely stable, tenacious and determined the specifics of folklore for many centuries to come. In every historical era, works coexisted more or less ancient, transformed, and also newly created. Together, they formed the so-called traditional folklore, that is, musical and poetic creativity created and transmitted by each ethnic environment from generation to generation orally. Thus, peoples retained in memory everything that met their vital needs and moods. This was also typical for the Bashkirs. Their spiritual and material culture, inextricably linked with nature, and eventful history are reflected in traditional folklore, including song art.

Any historical event evoked a response in the song and poetic creativity of the Bashkirs, turning into a legend, tradition, song, instrumental melody. The ban on the performance of any traditional song genre associated with the name of a national hero gave rise to new musical genres. At the same time, the names, functional and musical-style features of the songs could be changed, but the theme that excited the soul remained a source of folk inspiration.

Bashkir oral-poetic and musical folklore includes a variety of epic monuments (“Ural-batyr”, “Akbuzat”, “Zayatulyak and Khyukhylyu”, “Kara-yurga”, etc.), songs, legends and stories, tales - Khurafati hikaya, poetic competitions - aitysh, fairy tales (about animals, magic, heroic, everyday, satirical, novelistic), kulyamyasy-anecdotes, riddles, proverbs, sayings, omens, Harnau and others.

The unique song heritage of the Bashkir people consists of kubairs, labor songs and choruses, calendar songs of the annual agricultural

circle, lamentations (wedding, recruitment, funeral),

lullabies and wedding songs, drawn-out songs “ozon kui”, fast songs “kiska kui”, bytes, munazhaty, takmaks, dance, comic, round dance songs, etc.

The national instruments of the Bashkirs include peculiar,

popular to this day: kuray (kuray), kubyz (kumy?), string kumyz (kyl

godfathers?) and their varieties. It also includes “musical” household and household items: trays, buckets, combs, braids, wooden and metal spoons, birch bark, etc. Borrowed musical instruments, and instruments common among the Turkic peoples: whistles made of clay and wood, dombra, mandolin, violin, harmonica.

For more than two centuries, the musical and poetic folklore of the Bashkir people has been purposefully studied by representatives of various scientific directions and the intelligentsia. V.I. wrote about the rich national art. Dahl, T.S. Belyaev, R.G. Ignatiev, D.N. Mamin-Sibiryak, S.G. Rybakov, SI. Rudenko and others.

Admiring the original musical gift of the people, local historian R.G. Ignatiev wrote: “Bashkir improvises his songs and motives when he is alone, especially on the road. He drives past a forest - he sings about the forest, past a mountain - about a mountain, past a river - about a river, etc. He compares the tree with a beauty, wild flowers - With with her eyes, with the color of her dress, etc. The motives of Bashkir songs are mostly sad, but melodic; The Bashkirs have many such motives that another composer would envy them.”

In the field of traditional song folklore of the Bashkirs, many works have been written devoted to individual genres, their regional and musical-style features.

The relevance of research. The dissertation is based on knowledge of folklore and ethnomusicology, which allows the study of song

genres of Bashkir folk art in the relationship of music and words. Separately, melodious and recited genres are considered - kubairs, bytes, munazhaty, senlyau, hyktau, songs-lamentations of recruits, as well as songs with developed melody - “ozon kui”, “kiska kui”, “takmaki” and other genres, which makes it possible to consider Bashkir song creativity in its diversity.

In modern science there are generally accepted methods for studying folk art, in which “the main determinants are connections with a certain era, a certain territory and a certain function” 1 . The work under review uses the main provisions of this theory of classification of song folklore.

Purpose of the study- a comprehensive systematic analysis of the vocal genres of Bashkir folklore, the study of their evolution, poetic and musical-style features in their ritual and non-ritual functionality.

In accordance with this goal, the following are put forward: tasks:

theoretical justification for studying the genre nature of works of oral and poetic musical creativity using the example of folklore of the Bashkir people;

identifying priority areas in the field of research into the genre basis of Bashkir musical and poetic creativity;

determining the origins of the formation and development of genres of musical and poetic folklore of the Bashkirs in the context of traditional social culture;

study of the musical and stylistic features of individual song genres of Bashkir folk art.

Methodological basis dissertation was based on the fundamental works of domestic and foreign scientists devoted to the genre nature of works of folk art: V.Ya. Proppa, V.E. Guseva, B.N. Putilova,

Chekanovskaya A.I. Musical ethnography. Methodology and technique. - M.: Sov. composer, 1983. - P. 57.

N.P. Kolpakova, V.P. Anikina, Yu.G. Kruglova; studies of musicology theorists: L.A. Mazelya, V.A. Zuckerman, A.N. Sokhora, Yu.N. Tyulina, E.A. Ruchevskaya, E.V. Gippius, A.V. Rudneva, I.I. Zemtsovsky, T.V. Popova, N.M. Bachinskaya, V.M. Shchurova, A.I. Chekanovskaya and others.

The dissertation uses achievements in the study of folklore of different peoples. Works on Turkic, Finno-Ugric cultures: F.M. Karomatova, K.Sh. Dyushalieva, B.G. Erzakovich, A.I. Mukhambetova, S.A. Elemanova, Ya.M. Girshman, M.N. Nigmedzyanova, R.A. Iskhakova-Vamby, M.G. Kondratyeva, N.I. Boyarkina. In them, the genre classification of works of folklore is carried out using folk terminology and ritual and non-ritual functionality.

The dissertation is a logical continuation of the study of the musical folklore of the Bashkirs and is based on works on local history and ethnography (R.G. Ignatieva, ST. Rybakova, SI. Rudenko), Bashkir philology (A.N. Kireeva, A.I. Kharisova, G.B. Khusainova, M.M. Sagitova, R.N. Baimova, S.A. Galina, F.A. Nadrshina, R. A. Sultangareeva, I.G. Galyautdinov, M.Kh. Idelbaeva, M.A. Mambetov, etc.), Bashkir folk music (M.R. Bashirov, L.N. Lebedinsky, M.P. Fomenkov, Kh. S. Ikhtisamova, F.Kh. Kamaev, R.S. Suleymanova, N.V. Akhmetzhanova, Z.A. Imamutdinova, L.K. Salmanova, G.S. Galina, R.T. Galimullina, etc.).

An integrated approach to the topic being developed is carried out on the basis of specific historical and comparative typological scientific methods of analysis.

The material for the dissertation was:

folklore expedition recordings made on the territory of Bashkortostan, Chelyabinsk, Kurgan, Orenburg, Perm regions in the period from 1960 to 2003;

3) archival materials stored in the National

library named after Akhmet-Zaki Validi, in the folklore rooms of the Ufa State Academy of Arts, the Ufa Scientific Center of the Russian Academy of Sciences and the Union of Composers of the Republic of Bashkortostan, personal archives of folk music collectors K.Yu. Rakhimova, Kh.F. Akhmetova, F.Kh. Kamaeva, N.V. Akhmetzhanova and others.

In accordance with the stated objectives, it was determined work structure, including an introduction, four chapters, a conclusion, and a list of references.

The introduction outlines the purpose and objectives of the research, methodological basis, scientific novelty and practical significance of the dissertation.

The first chapter reveals the specific features of works of oral song and poetry, their social significance. Folk forms of creativity (unfixed - stored not as material objects, but in the memory of the bearers of the tradition) at a certain stage of development were formed into types of art (music, poetry, dance).

At the species level, there are no specific definitions of the concept “genre”. In most cases, scientists use the term “genus”, borrowed from literary studies, meaning “a way of depicting reality,” distinguishing three major directions: epic, lyricism, drama.

To understand the essence of the genre, it is necessary to point out the main features that allow us to identify the coordinates of a work of musical and poetic art. This problem has been comprehensively studied both in theoretical musicology (L.A. Mazel, V.A. Tsukkerman, A.I. Sokhor, Yu.N. Tyulin, E.A. Ruchevskaya) and in folkloristics (V.Ya. Propp , B.N. Putilov, N.P. Kolpakova, V.P. Anikin, V.E. Gusev, I.I. Zemtsovsky).

The interaction of a number of criteria (functional purpose, content, form, living conditions, structure of poetics, attitude to music, methods of performance) form a genre cliché, on the basis of which

a classification of folk songs is being constructed.

In scientific musicology and folkloristics, various ways of systematizing genres have developed. . Depending on the main determining factor, they can be constructed:

by type of poetry (epic, lyric, drama);

according to folk terminology (“ozon kui”, “kiska kui”, “hamak kui”, “halmak kui”);

by functional features (ritual and non-ritual genres) of folk music;

according to various criteria (thematic, chronological, territorial (areal), national, etc.).

The second section of the chapter is devoted to the analysis of genre classifications used in studies of the song folklore of the Turkic, Finno-Ugric and Slavic peoples.

In ethnomusicology, a division of genres into types of poetry is used, which is used depending on the hierarchical subordination of general and specific features that make up the artistic form of song genres.

In musical and poetic folklore, epic genres reflect the centuries-old history of the people. They are united by the narrative nature of the presentation of the poetic text and the recitative intonation of the chant. The performing process requires the obligatory presence of a sesaeng (singer-storyteller) and a listener.

Song genres of the lyrical kind reflect the psycho-emotional state of a person. Lyrical songs carry a certain generalization of life and convey information not only about the event, but also about the personality of the performer, his attitude to the world around him, thereby reflecting all facets of life (philosophy, feelings, civic duty, mutual influence of man and nature).

The dramatic genre of musical folklore represents a synthesis of arts and includes song genres, accompanied by theatrical, ritual

and choreographic action.

Of interest to folkloristics are the classifications of vocal

genres based on existing folk terms. For example, "o$on kvy"

"Kbiqxakvy"- among the Bashkirs and Tatars, "kay" And "schyr" - among the Kazakhs,

instrumental "/gas" and song "b/r" - y Kyrgyz, "eitesh" - y Bashkir,

Kyrgyz, Kazakhs, "kobayir" - y Bashkir, "dastan" - at Uzbeks, Kazakhs, Tatars.

This classification played a significant role in the development of folkloristics as a science in national schools when studying the song heritage of the Turkic peoples and has not lost its practical significance in our time.

For practical purposes, folklorists at different times used genre classifications based on thematic (T.V. Popova, Kh.H. Yarmukhametov, J. Faizi, Ya.Sh. Sherfetdinov), chronological (A.S. Klyucharev, M.A. Muzafarov, R.A. Iskhakova-Vamba), national (G.Kh. Enikeev, S.G. Rybakov), regional or areal (F.Kh. Kamaev, R.S. Suleymanov, R.T. Galimullina, E. N. Almeeva) criteria.

The second chapter provides an analysis of handwritten and printed publications from the end of the 19th to the beginning of the 21st centuries, devoted to the issues of genre classification in the field of Bashkir oral song and poetic creativity. The chronological principle of constructing the chapter allows us to trace in the works of local historians, historians, philologists and musicians the degree of development of the problem in the sphere of the genre nature of the song culture of the Bashkir people.

The third and fourth chapters are devoted to the study of the genre basis of the musical and poetic creativity of the Bashkirs, which, depending on the presence or absence of a social and everyday function, is divided into two large groups. In accordance with this, individual ritual (calendar, children's, wedding, funeral, recruitment) and non-ritual genres (kubairs, bytes, munazhat, drawn-out and fast songs, takmaks) are considered.

This classification allows us to explore the rich

song folklore of the Bashkirs in close connection with the social and everyday life, to identify the dramaturgy of rituals, to substantiate existing folk terms (“ozon kuy”, “kiska kuy”, “hamak kuy”, “halmak kuy”, “takmak”, “harnau”, “ Hyktau”, etc.), as well as analyze the musical structure of vocal genres.

In custody dissertation, the results of a study of the genre nature of the traditional song art of the Bashkirs are formulated.

Scientific novelty of the dissertation thing is

various types of classifications in the field of Bashkir folklore are considered (by types of poetry; by folk terminology; by functional, chronological, regional, musical and stylistic characteristics), and on their basis an attempt is made to independently study the genre nature of the song and poetic creativity of the Bashkirs;

The conducted research makes a certain contribution to the development of a genre classification of musical folklore of the Bashkir people.

Practical significance The work is that the dissertation materials can be used to create general works in the field of Bashkir song folklore; for the study of national musical cultures of the peoples of the Urals, Volga region and Central Asia. In addition, the materials of the work can be used in lecture courses (“Musical ethnography”, “Folk musical creativity”, “Folk expeditionary practice”, “History of Bashkir music”, etc.), given in the system of secondary and higher music education in the Volga region and the Urals.

Definition of the concept of “genre” and its characteristics in folkloristics

The English word “folk-lore” is translated into Russian as “wisdom of the people”, “folk knowledge”, folk knowledge. The term was proposed by scientist V.I. Toms in 1846 as a definition of the spiritual culture of the people and to designate works of oral and poetic creativity. The science that studies this area of ​​research is called folkloristics.

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

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

The morphological structure of folklore is also unique, the specificity of which lies in the ability to combine the characteristics 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 types of art that have a materially unfixed form of imagery: V.E. Gusev, V.Ya. Propp, S.N. Azbelev. Another group of researchers argues that it includes 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. It follows from this 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 unfixed forms of art.

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 [software]. V.E. Gusev argues about the syncretism of folklore.

It seems 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 and formed into separate types. And each of them can reflect reality using specific means unique to it. For example, prose is realized in oral poetry, textless music in musical folklore, and ornamental dance in folk choreography.

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

In this case, the types of folk art (“musical”, “plastic” and “syncretistic”) do not correspond to the principles put forward by M.S. Kagan, since these include forms of folk art that have different temporal and spatiotemporal characteristics, using a variety of materials, as well as figurative and non-figurative types of the sign system.

Let us note that the criterion of syncretism of types of folk art proposed by philologists also cannot be considered as the only possible sign of the morphology of folklore, because syncresis also occurs in professional creativity. Such examples abound in materially fixed and unfixed types of art: 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 is in folklore, secondary synthesis is in professional art (return to syncresis or the stage of a new synthesis). Consequently, syncretism is one of the characteristics of folklore, but not its morphology.

Issues of genre classification in the works of researchers of Bashkir folklore of the last quarter of the 19th century

In the second half of the 19th century. The interest of local historians, philologists, ethnographers and musicologists in the rich culture of the Bashkirs, in the problem of recording and systematizing samples of folk musical creativity, increased. Early scientific research in the field of Bashkir folk music was associated with the names of the historian-folklorist R.G. Ignatiev, collectors of Bashkir and Tatar folk songs G.Kh. Enikeev and A.I. Ovodov, Russian musician and ethnographer S.G. Rybakova.

In 1875, the “Notes of the Orenburg Department of the Russian Geographical Society” (issue 3) published an article by archaeologist and ethnographer R.G. Ignatiev “Stories, tales and songs preserved in manuscripts of Tatar writing and in oral retellings among Mohammedan foreigners of the Orenburg province” .

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 Bashkir folk songs recorded by R.G. Ignatiev in Troitsky, Chelyabinsk and Verkhneuralsky districts. The 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, noteworthy is the collection of the Orenburg teacher G.Kh. Enikeev “Ancient Bashkir and Tatar songs (1883-1893)”.

As musicologist L.P. notes. Atanov, during trips to the Volga region, the Urals, Kazan, Orenburg, Samara, Ufa provinces G.Kh. Enikeev memorized the tunes, recorded the texts, stories and legends of the creation of songs, and A.I. Ovodov gave notations for them.

Subsequently, 114 records by G.H. Enikeev and A.I. Ovodov were edited by 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 drawn-out folk songs performed by G.Kh. Enikeev and iotized by K.Yu. Rakhimov. The work was prepared for publication in Bashknigtorg.

Classification of songs by G.Kh. Enikeev was carried out taking into account national, thematic and melodic characteristics. On the first, national basis, the collection highlights Bashkir, Tatar, “Meshchera”, “Teptera”, “Turkic” songs.

According to thematic and melodic characteristics, the songs are divided into nine “categories” (i.e., genre groups): 1) old, drawn-out mournful songs, including historical ones; 2) especially popular everyday songs; 3) popular love songs; 4) wedding songs; 5) ditties (takmaki); 6) songs of praise; 7) satirical songs; 8) soldiers' 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 ease of reading the musical material, the author proceeds from the principle of combining national and genre characteristics. For example, the collection contains: Bashkir folk songs - 34, Tatar - 10, “Tepter” - 1, including 10 Tatar wedding songs - 8, “Meshchersky” - 1, “Tepter” - 1, etc.

Justifying this division, G.Kh. Enikeev and K.Yu. Rakhimov point out that “when all the melodies were divided into groups by nationality, it was necessary to classify these melodies 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 G.Kh. system Enikeev, not all previously noted genre groups are provided with specific musical examples. Thus, Bashkir folk songs are classified into three “categories” (lingering, everyday, love). In the section of Tatar folk songs, these “categories” are added: wedding, laudatory, satirical, soldier’s songs and ditties (takmaks).

Religious folk songs (bytes, munazhaty) are classified as “Turkic”. About this group of songs by G.Kh. Enikeev wrote: “these poetic works in content and character, as they are also written in the Turkic language with an admixture of Arabic and 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 would be more appropriate, if desired, to publish them in a separate issue.”

Proposed by G.H. Enikeev’s classification is attractive due to the genre diversity of the collected material and the use of various principles of systematization. In the collection, folklore genres are differentiated according to thematic, aesthetic and social characteristics. 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 collection by G.Kh. Enikeev, written in Latin and Arabic script5.

The joint work done by G.Kh. Enikeeva, A.I. Ovodova and K.Yu. Rakhimova in the field of collecting, studying and promoting Bashkir and Tatar folk melodies has not lost its importance in our days.

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

Calendar ritual folklore

Historical data on the calendar rituals and holidays of the Bashkirs are contained in the works of Ibn Fadlan (921-923), I.G. Georgi, I.I. Lepekhina, S.G. Rybakova. Of particular interest are the works of scientists of the beginning 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 is known, 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 rituals, and the boundaries between them were conventionally designated by the periods of winter and summer solstices.

The holiday "Nardugan" ("Nardugan") was called among the Bashkirs, Tatars, Mari, Udmurts - "Nardugan", the Mordovians - "Nardvan", the 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 mandatory condition to express good wishes to each other. During the summer “Nardugan” from June 25 to July 5, it was not allowed to slaughter cattle, cut down forest, mow grass, that is, have any negative impact on nature. For the holiday, seventy-seven types of flowers were collected and lowered into the river, awaiting the successful arrival of summer. The New Year holiday “Nauryz” (“Nauruz”) was celebrated on the day of the vernal equinox from March 21 to 22 and had “points of contact with the archaic rituals of the peoples of the East.” At Nauruz, young people, under the leadership of one of the senior organizers, walked around the courtyards, collecting cereals for a joint meal, gifts for the winners of sports competitions, as well as competitions for singers, instrumentalists and sesengs. The blessing of an elderly person (fatiha alyu) was important for the villagers. The most ancient folk holidays of the Bashkirs were called: “Rook Porridge”, “Rook Festival”, “Cuckoo Tea”, “Sabannaya Water”, etc. The return of birds to their native lands was marked by the rituals “KapFa butkaby” (“Rook Porridge”) and “KapFa tui” "("Feast of the Rooks"). The names of the rituals are based on a combination of words: “kapFa” - crow (rook); “bugka” - porridge, “tui” - wedding, feast, celebration, celebration. According to R.A. Sultangareeva, the etymology of the word “tui” means a triumph in honor of nature and man. 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 were women, girls and children. This revealed echoes of matriarchy in the social structure of the ancient Bashkirs. The architecture of spring folk festivals is the same and consists of the following stages: 1) collecting cereals from farmsteads; 2) decorating trees with colored ribbons and scraps of fabric (suklau - to make a tree branchy); 3) preparing ritual porridge from collected cereals; 4) sharing a meal; 5) holding games and competitions, leading round dances, performing ritual songs and dances; 6) feeding birds with ritual porridge. The “treat” was laid out on leaves and stones, and tree trunks were coated with it. The ritual actions of the ritual participants were accompanied by the execution of exclamations, cries, calls and good wishes (ken toroshona telekter).

In the exclamation-cry “Crane”, elements of imitation of bird voices are conveyed by short motivic structures based on iambic rhythmic networks consisting of a combination of short and long beats: JVjJPd,12 When the exclamation-cry is chanted, the last syllable in the word is accentuated.

The end of sowing work was accompanied by rituals designed to influence natural phenomena with the help of incantations, sentences, the performance of chants and the reading of prayers: “Dousing with water”, “Sabana water” or “Rain porridge”, “Expressing wishes”, “Calling fire from a tree” .

The ritual “Calling fire from a tree” (arastan ut CbiFapbiy) was carried out in the summer during a dry year. A maple crossbar was installed between the two posts, which was wrapped once with rope. The ritual participants, holding the ends of the rope, alternately pulled it towards themselves along the crossbar. If the rope began to smolder, rain was expected within seven days. Or the ritual was repeated again.

The most ancient calendar holidays “Iiyyn” 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 drama included: 1) preparation of the area, fundraising; 2) organization of sports competitions; 3) sharing a meal and treating guests; 4) performances of folk singers, instrumentalists, dancers; 5) evening games for youth. Externally similar holidays differed in their functional purpose. “Maizan” (“Maidan” - square) is a celebration of the onset of summer. “Yiyyn”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 work songs, choruses, (khezmet, kesep YYRZZRY hdM

Iamaktara). Performed in the process of work, to achieve a “working rhythm”. The functional significance and organizing role of these genres was considered by domestic researchers: E.V. Gippius, A.A. Banin, I.A. Istomin, A.M. Suleymanov, M.S. Alkin and others. The German musician Karl Bucher noted in his work “Work and Rhythm” (M, 1923) that “where a large number of people gather to work together, there is a need to organize and streamline their actions.” The area of ​​labor songs and choruses can be conditionally divided into three groups: 1) songs-choruses that organize the labor process, requiring simultaneous effort and rhythmically organized action from workers (mill builders, timber raftsmen and others). 2) songs performed in the process of labor. This group is usually called “songs dedicated to work”, since they reflect “not so much the nature of work, but the mood of the performers (those who participate in it) in the context of their way of thinking and attitudes.” 3) work songs of certain professions: shepherds, hunters, carpenters, songs of lumberjacks, timber rafters and others.

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

A distinctive feature of labor songs are various intonation and verbal exclamations, shouts: “pop”, “eh”, “uh”, “sak-suk”, “tak-tuk”, “shak-shuk”, etc. Such command words convey “an extremely expressive expression of labor tension and its release.”

It should be noted that the exclamation “pop” is not an artificially added component that helps expand the volume of the chanting (up to 3 bars), but a necessary element of musical construction, since the melody ends on the main pillar of the pentatonic mode (f). The poetic text uses parallel rhyme (aabb), the four-line stanza has an eight-syllable structure.

During the ritual “Tula 6aqt iy” (“Making of felt”), the hostess laid out wool in an even layer on a surface. The other 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 ritual, the felt was cleaned of fine wool fluff and dipped in running water and hung to dry. Upon completion of the work, the owners of the house treated the helpers. Making felt required great physical effort from the participants, so all stages of the work were accompanied by comic songs and dances.

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

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

According to F.I. Urmancheev, the terms “dastan” and “kyysa” are borrowed from oriental literature and are used “to denote the epic genre of literature and folklore.”

In the works of the Bashkir poet-educator, local historian of the 19th century M.I. Umetbaev’s term “9LEN,” refers to epic works performed in a chant manner. In particular, in 1876 M.I. Umetbaev wrote: “Ulen is a legend, that is, an epic. However, since the strengthening of power and the close relationship of the Bashkirs with neighboring peoples, the songs of “ulena” took shape in four-line rhymes. They sing about love, give praise and gratitude to the guests...” Confirming what has been said, the researcher in one of the publications cites an excerpt from the epic legend “Idukai and Muradym”20 under the definition of “ancient Bashkir ulens”.

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

In Bashkir literature and folklore, the poetic part of an epic tale was originally called kubair, in some regions called irtyak (plots with a predominance of fairy-tale elements). The word “kobayir” is formed from the merger of the words “koba” - good, glorious, worthy of praise and “yyr” - song. Thus, “kobayir” is a song of glorification of the homeland and its warriors.

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

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

It is possible that in the Nogai period (XIV-XVI centuries), the Bashkirs used the term “yyr” to mean epic works, and therefore their performers were popularly called “yyrausy”, “yyrau”.

The early thematic classification of works of the Bashkir epic belongs to A.N. Kireev. The scientist, based on the topic, divided the heroic epic into Irtyaks about warriors, Irtyaks inciting 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 associated with the worldview of the ancient ancestors of the Bashkirs: “Ural Batyr”, “Akbuzat”, “Zayatulyak and Khyukhylu”; 2. epic tales telling about the struggle against foreign invaders: “Ek Mergen”, “Karas and Aksha”, “Mergen and Mayankhylu”, and others; 3. epic tales depicting inter-tribal feuds: “Babsak and Kusyak” and others; 4. epic tales about animals: “Kara Yurga”, Kangur Buga”, “Akhak Kola”. Standing apart are the legends relating to the common Turkic epic monuments: “Alpamysha and Barsynkhylu”, “Kuzykurpes and Mayankhylu”, “Tahir and Zukhra”, “Buzeget”, “Yusuf and Zuleikha”.

Nadezhda Lisovskaya
Bashkir folklore as a way to develop speech in preschoolers

Report on the topic:

Teacher - speech therapist: Lisovskaya Nadezhda Anatolyevna

Republic Bashkortostan, Uchaly, MADOU Kindergarten No. 1 "Chamomile"

Report on the topic:

BASHKIR FOLKLORE AS A WAY TO DEVELOP SPEECH OF PRESCHOOL CHILDREN

A special place in folk pedagogy is given to Bashkir folklore and primarily fairy tales, lullabies - small forms of oral creativity. They develop and support joyful emotions in children, form speech skills, moral-aesthetic and artistic-aesthetic qualities.

Nowadays, many books and methodological developments on working with fairy tales in different age groups are being published. preschool. All of them are aimed at development of children's creative abilities, aesthetic and moral education, introducing children to the culture of different nations. But when introducing children to Bashkortostan Teachers face a number of questions. How to tell children in an entertaining and interesting way Bashkir fairy tale? How

make their soul imbued with the meaning of the fairy tale, understand the life and traditions of the people Bashkortostan. After all, a fairy tale is one of the elements of culture and is based on folk-ethnic culture, on folklore roots.

Children's favorite genre is fairy tales.

Folk pedagogy reflected in fairy tales entire methods for the systematic formation of a person’s moral and aesthetic appearance. Fairy tales instill in children sensitivity, attentiveness, responsiveness, courage, courage, perseverance, fearlessness, etc.

Childhood is the time when a genuine, sincere immersion in the origins of national culture is possible.

Reflection of patriotic and international traditions Bashkir people we find in the rich folklore. Folklore as a historically specific form of folk culture does not remain unchanged, but develops together with the people, absorbing everything valuable that existed previously and reflecting new social conditions.

Progressive Educators (Ya. A. Komensky, K. D. Ushinsky, E. I. Tikheeva, etc.) have always believed that the basis of raising children is preschool age should be based on national traditions. In their opinion, from a very early age it is necessary to introduce children to the national culture and the folk word.

In recent years, special attention in research has been given to the role of small forms folklore in the education of preschool children(N.V. Gavrish, G.A. Kursheva, A.P. Ilkova).

Researchers looked at the influence of oral folk art on developmentand raising children in different aspects: personal and speech.

Tikheyeva E.I., Shurakovskaya A.A., Alieva S., Shibitskaya A.E. in their studies showed the influence of fairy tales on development of oral speech.

Flerina E. A., Usova A. I. characterize oral folk art from the point of view of the moral and aesthetic education of a child.

For centuries Bashkir folklore played and plays a great educational role in the life of peoples Bashkortostan. Baimurzina V.I. notes that folk pedagogy is fully reflected in oral folk art, and Kutlugildina Yu. Z. believes that one of the effective means in moral and aesthetic education is oral folk art (folk song, lullabies, proverbs, sayings, fairy tales). Itkulova A. Kh. examines the worldview and moral aspect of various genres of folk tales. She talks about the importance Bashkir fairy tales in the spiritual life of people. Akhiyarov K. Sh. believes that folk pedagogical culture Bashkirpeople consists of elements of folk art: fairy tales, legends, myths, tales, etc. All elements of folk pedagogy are interconnected, complement each other, working deeply in one direction of education. Fairy tales, proverbs, sayings are more evident in moral education, riddles - in mental education, songs, dances - in aesthetic education, and games and fun - in physical education.

Bashkir the fairy tale instills in children from an early age a love for their land and their people, their good wisdom accumulated over centuries, their rich and living culture -folklore, art. A fairy tale helps us revive traditions Bashkir people.

Reflecting on this, we came to the conclusion that children with speech disorders can be helped by theatrical activities based on Bashkir fairy tales. Theater helps development of dance, song abilities, and communication with dolls makes children free and liberated.

Theater activities promotes the development of psychophysical abilities(facial expressions, pantomimes, speeches(monologue, dialogue, cognitive activity, coordination of movements, mastering logical and grammatical structures, expanding the vocabulary of materials Bashkir fairy tales.

Usage folklore pedagogy in working with children promotes formation of the basis of personal culture, folklore identity This is especially important for children attending special speech groups.

The fairy tales we have chosen have been adapted and tested preschool educational institution No. 14, Kumertau Republic Bashkortostan. Below we will consider a number of methodological developments (classes) For preschoolers on oral folk art

Tell me about the doll

Bibabo dolls serve as a visual aid. The guys examine and describe their appearance, clothes, determine their character, and describe their actions. Reliance on direct visual perception promotes correct speech of the child.

Give 1.1 a sample of an approximate description of a doll by a child in a preparatory speech group.

“My doll is a horseman. He has round small eyes. Straight nose. Beautiful brown eyes. He is dressed in a shirt and pants. A smart short sleeveless vest over the shirt (kamzul). The horseman is belted with a narrow belt with a pattern (captyrga). On the head is a skullcap decorated with stars and sparkles. Soft leather boots on feet (ichigi). The horseman and I love to dance. I love him so much".

During the story, the child controls the doll. The horse doll accompanies the words of the text with appropriate movements. The speech therapist teacher complements the child’s story. The dance is accompanied Bashkir melody.

guess a riddle

According to the preliminary instructions of the speech therapist, children learn several riddles.

During the lesson they make wishes for each other with dolls olatay grandfather) and malay (boy).

For a man - a wing,

For the Sultan - a mark,

Doesn't get tired in summer

Snow crumples in the field in winter.

Malay (raises hand): I know! This is a horse.

He's talking on the wall, but you can't see who

Malay: - This is a radio. I guessed it because the voice can be heard, but who is speaking is not visible.

Speech therapist: - Guys, Malay spoke clearly, took his time so that we had time to think and guess correctly. Olatai was taught to speak so well by his puppeteer, Kirill. Malay, with the help of his puppeteer Sasha, said the answer loudly and clearly, following the first sound in the words - l-l-horse, r-r-radio.

A child’s active speech largely depends on development subtle finger movements. Streamlining and coherence of a child’s speech motor skills - speech pathologist contribute various small movements of the fingers. This is the reason for the use of theater puppets. "Living Hand".

The features of hand puppets allow the speech therapist to widely use them throughout the entire course of speech therapy classes, including when conducting finger gymnastics. The hero of a fairy tale comes to the children and shows them the movements.

Gulkey and the chicken

Here Gulkey runs into the yard,

The index and middle fingers of the hand move across the table. Slamming the doors.

Clap your hands.

Eat, little chicken! -The girl is pouring millet.

A movement depicting sprinkling millet. Help yourself, don’t be shy, it’s very tasty. A chicken walks around

The palm is positioned horizontally. With a pink beak, knock, knock!

Thumb and index finger

form an eye. Next fingers

overlap each other

in a half-bent position.

The hen says, little sister:

Very tasty millet!

Tapping on the table with each finger. I will give you an egg for every grain.

Make a fist with your hands, then open your palm one finger at a time. So, good Gulkey, don’t spare me grains.

Stroking each finger of the opposite hand.

When working with children on each Bashkir fairy tale, highlighted a moral lesson.

Attention was also paid development pew and math abilities of children - speech pathologists, their fine motor skills, ethical education. And the central link of the work was the introduction preschoolers speech groups to native culture Bashkortostan.

"HARE AND LION"

Characters

Hare, lion, bear, fox. Scenery: Forest, well. (Voices behind the screen).

Author: In ancient times there lived a terrible lion (a lion's roar is heard periodically). He struck fear into all the other animals. The animals were tired of putting up with the voracious lion, and they gathered for a council

(A fox, a hare, a bear appears).

Bear: Let's cast lots every day, whoever it falls on will become food for the lion.

(The animals draw lots, the fox and the bear are happy, but the hare is sad)

Hare: I'll have to go to the lion. Are we really going to be the lion's obedient prey? We need to come up with some trick to get rid of it.

Fox: (snorting) Are you not the beast that can outwit a lion?

(To the music, the fox and the bear leave, and the hare goes to the lion.)

a lion: (angrily) Your ancestors moved much faster. You were supposed to come to me in the morning, and now it’s already lunch.

Hare (scared): I was sent to you for lunch. And another hare was supposed to come to you for breakfast. Only on the way he met another lion and ate the poor fellow. So on the way here I met that same lion.

“Where are you going?”- he asks me, and I answer him: “I’m going to my master, Leo”.And he became terribly angry at such words and began to growl and tear the ground with his claws: “Who wants to be the owner of these places?” I barely managed to escape from him, which is why I was late.

a lion (menacing): Where does your impudent person live?

Hare: Not far from here, on that side.

a lion: Take me to him now, I’ll show him who’s boss here!

(The hare walks ahead, followed by the lion. So they came to some old and deep well).

Hare: At the bottom of this very well hides that same lion.

(The lion looks into the well and roars)

a lion: Indeed, there is a lion sitting here that looks like me. Well, I'll show him! (jumps into the well)

Hare (runs, shouting joyfully): No more evil and voracious lion!

Working with a fairy tale

Moral Lesson “Small, but smart”. Cultivating good feelings

What did you like about the hare?

Do you think the fox and bear did the right thing?

Fairy tale and mathematics

Using geometric shapes, depict the heroes of the fairy tale (hare - oval, fox - triangle, bear - circle, lion - rectangle; well - square).

Speech exercise

Are proverbs suitable for fairy tales? "Cheek brings success", “And strength yields to the mind”.

A game "Vice versa" (words are antonyms)

Smart hare - stupid lion Brave hare - cowardly bear

Etymology of the word WELL Fairy tale and ecology

Why does a hare need long, fast legs?

Development thinking and imagination

What would you do if you were next to a lion at a well?

Figure out how to make friends with the lion and all the animals.

Developing your hands.

Use counting folders to make a well.

What wild animals are found in the forests Bashkiria?

"THE HUNGRY BEAR, THE FOX AND THE JIGIT"

Characters:

Bear, fox, horseman.

Scenery:

Forest, cart, rope, stake.

(The stage is decorated with green trees. A horseman with a cart appears in the forest, he came for firewood)

(Sounds Bashkir melody, the bear comes out)

Bear: It’s been so long since I’ve eaten. (the horseman grabs and at this time the fox appears to the music).

Fox: What are you doing here?

Bear (whispers in the horseman's ear): Say that you are collecting firewood here and throw me on the cart. I will pretend to be dead, and when the fox comes to me to find out what happened, I will eat him.

Dzhigit: I came for firewood. (He pushes the bear into the cart).

Fox: When they put firewood in a cart, they tie it tightly with a rope, let’s tie it.

Bear (speaks quietly): That's right, he says.

(The horseman ties the bear tightly to the cart).

Fox: When you tie firewood with a rope, you need to tighten it tighter.

(Dzhigit pulls even harder that the bear cannot move).

Fox (approaches the bear and laughs right in its face): Here the master walked and wandered through the forest, an insidious bear, and did not let us live. Now he lay down with firewood in the cart, tied hand and foot.

Fox (addressing the horseman): Thick firewood should be split using a stake. Why are you standing?

(The horseman takes the stake and begins to harass the owner of the forest, and he roars).

Fox: Now the owner of the forest will be a mighty and fair lion.

Working with a fairy tale

Moral Lesson

"What goes around comes around"

Cultivating good feelings

I feel sorry for the bear at the end of the story, and you?

How can I help him?

Who do you rejoice for in a fairy tale, and who do you sympathize with?

Fairy tale and mathematics

Remember 5 fairy tales about a bear. Speech exercise

Choose words - definitions for the word BEAR (hungry, angry, stupid).

Does the proverb fit the fairy tale? “The other side will teach the griefer”

Fairy tale and ecology

Find the extra word based on generalizing features: bear, fox, wolf, dog. hare, hedgehog

Development thinking and imagination

How are fairy tales similar and different? "The Bear and the Bees" And "The Hungry Bear, the Fox and the Horseman"?

In which fairy tale does the horseman act better?

Fairy tale develops hands

Using a paper mosaic applique, depict a bear.

Cultivating love for one's native land

What does a bear eat? (omnivore)

What berries and mushrooms grow in forests Bashkiria?

What kind of fish is found in rivers?

Name the rivers Bashkortostan. We hope our material will help

in the work of teachers not only of speech groups, but also of teachers of mass groups preschool institutions.

LITERATURE

1. Agisheva R. L. Didactic games "I will know Bashkortostan» : Educational and practical manual for kindergarten teachers and primary school teachers. - Ufa: BIRO, 2005.

2. Bashkir folk art. Transfer from Bashkir.- Ufa: Bashkir book publishing house, 1987. - 576 p.

3. Bashkir folk tales. Tales about animals. Everyday tales. - Ufa: Bashkir book publishing house, 1987. - 120 p.

4. Bachkov I. V. Fairy tale therapy: Development self-awareness through a psychological fairy tale. - M. : Os-89, 2001.-144 p.

5. Galyautdinov I. G. Bashkir folk games(in Russian and Bashkir languages) . Book one. - Ed. 2nd, with change. - Ufa: Kitap, 2002. -248 p.

6. Rakhimkulov M. G. "My love - Bashkiria» . Literary and local history essays. Ufa, Bashkir book publishing house, 1985.

7.Fairy tale as a source of children's creativity: A manual for teachers doshk. Institutions. / Scientific Hand. Yu. A. Lebedev. - M. : Humanitarian. Ed. VLADOS Center, 2001.

8. Gasanova R. Kh., Kuzmishcheva T. B. Folklore pedagogy in education and preschoolers: Methodological recommendations to help educators preschool educational institutions. Ufa - BIRO, 2004. - 70 p.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Kesets bir! Give me strength!

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

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

Bir! Bir! Give! Give!

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

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

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

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

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

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

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

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

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

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

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

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

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

Notes

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I APPROVED

Branch Manager Director

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

N.E. SelivYerstova ______ L.Z.Sharipova

"___" _______ 2016 "___" _______ 2016

PLAN
EDUCATIONAL WORK
ASSOCIATION "BASHKIR FOLKLORE"

FOR THE 2015/2016 SCHOOL YEAR

BASED ON

ADDITIONAL GENERAL EDUCATION
(GENERAL DEVELOPMENTAL MODIFIED) PROGRAM
BASHKIR FOLKLORE

Khismatullina G.G.

Bashkir teacher

language and literature

village Salikhovo

Explanatory note

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

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

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

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

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

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

Relevance of the program

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

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

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

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

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

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

Program directions

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

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

Novelty of the program

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

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

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

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

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

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

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

Program objectives:

Educational:

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

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

Educational:

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

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

Educational:

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

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

To develop the ability to find beauty in folk art.

Content and direction of educational activities

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

Oral folklore.

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

Musical and song folklore.

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

Ethnographic information.

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

Games

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

Folklore theatre.

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

Holidays

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

Forms of conducting classes

Each lesson for each section has the following structure:

Conversation on one of three topics:

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

Listening and perception of music.

Singing, dancing.

Musical and folklore games.

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

Lesson mode

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

Expected results

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

About the family traditions of the Bashkir people;

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

About the national costume of the peoples living in Bashkortostan;

About the national calendar;

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

Learn:

Perform Bashkir folk songs;

Perform dance movements;

Organize and conduct folk games.

Children will be able to cultivate in themselves:

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

The ability to see beauty in folk art;

Adequate self-esteem.

Forms of control for testing knowledge, skills and abilities.

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

Individual approach and control is carried out:

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

In the form of reporting concerts.

Methods for tracking results

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

2) Test tasks and quizzes.

3) Conversations with children and their parents.

4) Collective creative activities.

Objectives of the first year of study

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

Introduce yourself to local folklore.

Cultivate moral feelings.

To instill practical skills in performing folklore chants.

Curriculum for the first year of study

105

Contents of the first year program.

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

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

Section 3. Autumn.

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

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

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

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

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

Section 4 Winter

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

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

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

Topic 4.4 Folklore theater. Theory.

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

Section 5 Spring

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

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

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

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

Topic 5.5 Ethnographic information. Theory.

Section 6 Summer.

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

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

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

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

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

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

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

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

Objectives of the second year of study

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

2) Deepen previous knowledge.

Curriculum for the second year of study

p/p

Topic name

Total

hours

Theory

Practice

Introductory lesson. Safety training

Introduction to the subject.

Image of a bird.

Animal image.

The tree of Life.

Family and everyday life.

Heavenly bodies.

EthnographicallyIexpedition

Final lesson.

Educational work

144

114

Contents of the second year program

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

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

Topic 3 Image of a bird.

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

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

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

Topic 4 Image of animals

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

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

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

Topic 5 Tree of Life

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

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

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

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

Topic 6 Family and everyday life

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

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

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

Topic 7 Heavenly bodies

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

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

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

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

Topic 8 Ethnographic expedition.

● Practice. Collection of material on folklore.

● Practice. Collection of material about rituals and holidays.

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

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

Methodological support

Methodological developments;

Educational program;

Magazines "Teacher of Bashkortostan"

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

Logistics support

TSO: computer, speakers;

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

Costumes for competitive performances;

Elements of Bashkir folk costume for games and dances;

Attributes for folk games, round dances, dances;

Bibliography

Burakaeva M. Bashkir culture. Ufa, 2004

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

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

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

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

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

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

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

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

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

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

Calendar but-thematic plan mug “Bashkir folklore”

MBOU DO DDYUT Ishimbay based on the village of Salikhovo

Name of sections and topics

Total hours

Theory

Prak

teak

date

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

Getting to know the circle plan.

16.09

Introduction to the subject.

The people who created folklore.

Genres of folk art.

20.09

Autumn

Oral poetic folklore

Collectors of Bashkir folklore.

27.09

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

Riddles, proverbs about autumn.

30.09

Jokes, nursery rhymes, teases

Folk signs, their role in human life.

30.09

Musical folklore Learning a lullaby.

4.10

Learning songs about autumn, about the harvest.

Ditties.

7.10

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

Fairy tales.

10.10

Learning tongue twisters.

Work on the development of vocal and choral skills.

14.10

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

18.10

Folk games. Conversation about folk games.

Traditional folk games.

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

Educational games.

4

2

2

21.10

25.10

12

Learning counting rhymes.

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

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

2

2

28.10

1 3

Folklore theater

Acquaintance with folk ritual holidays.

Seasonal and traditional holidays of the Bashkirs.

2

2

1 .11

1 4

Preparation for the autumn holiday “Sumbyul Bayramy”.

6

6

4.11

8.11

11.11

15

Preparation and holding of the “Sugym Ashy” holidays.

Entertainment"Daughters and mothers."

2

2

15.11

17

Ethnographic information

2

1

1

18.11

Winter

18

Oral-poetic folklore. Proverbs and sayings about winter.

Nfolk signsabout winter.

2

2

22.11

19

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

4

4

25.11

29.11

20

Musical folklore.

Conversation about folk dances.

2

2

2.12

21

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

2

2

6.12

20.12

22

Mastering the movements of folk choreography.

Unlearningdancing « Naza» . Practicing dance elements.

Practicing movementsdancing

Practicing the entire dance « Naza» .

6

6

9.12

13.12

16.12

23

Folk games

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

2

2

23.12

24

Folklore theater

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

2

2

27.12

25

Preparing the holiday"Winter Nardugan".

2

2

30.12

26

Preparing the holiday"Kis ultyryu."

2

2

6.01

27

Ethnographic information.

Winter work in the village.

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

2

2

10.01

Spring

28

Oral poetic folklore

Calls of spring.

Appeal to the sun, rain, earth.

2

2

13.01

29

Sayings, folk signs about spring.

Observations of nature using signs of spring.

Proverbs about spring.

2

2

17.01

30

Musical folklore

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

2

2

20.01

33

Individual work on voice training, preparation of solo numbers.

2

2

24.01

34

Practicing folk choreography movements.

2

2

27.01

35

Round dance game songs.

Comic songs.

2

2

7.02

36

Folk games.

Games with the arrival of spring.

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

4

4

10.02

14.02

37

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

Games for liberation.

2

2

17.02

38

Outdoor games based on fairy tale themes.

Bashkir folk games for the holiday.

Entertaining games.

2

2

21.02

39

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

4

4

24.02

28.0 2

40

The holiday “Kar syuyna baryu” in literature.

Rituals of the life cycle.

6

2

4

3.03

7.03

10.03

41

Ethnographic information

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

Ancient crafts of the Bashkirs Arkan Isheu, etc.

2

1

1

14.03

Summer

42

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

My favorite fairy tale characters.

Reading and watching fairy tales.

Storytelling competition.

4

2

2

17.03

21.03

43

Musical folklore. Conversation about song genres.

2

2

24.03

44

Labor songs. Songs and dances.

Song competitions, ditties.

Combining the studied elements of dance with songs.

Learning the dance “Mower-thresh”lka".

Practicing dance elements.

Practicing dance movements.

Practicing the entire dance.

8

8

31.03

4.04

7.04

11.04

4 5

Folk games.

Preparation for children's Sabantuy.

6

6

14.04

18.04

21.04

4 6

Folklore theater

Getting to know the holiday

2

2

25.04

28.04

48

Getting to know the holiday

"Nardugan". "Summer Nardugan".

Preparation and holding of a ritual holiday.

8

8

2 .05

5 .05

8.05

10.05

49

Ethnographic information

2

1

1

12.05

50

Final lesson

2

1

1

15.05.

51

Educational work

Harvest festival "Syumbul Bayramy"

1

28.10

52

Holding the holiday “Winter Nardugan”

1

April

53

Internal event “Farewell to the year of cinema.”

1

54

Holding the spring holiday “Nauruz Bayramy”

1

55

Participation in the Rainbow of Talents festival

1

56

Internal event “I am a child of nature”

1

57

Carrying out the holiday “Karga Butkasy”.

1

58

Participation in competitions and festivals.

7

In current

of the year

59

144

40

9 0