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Introduction

Bashkir oral and poetic creativity is the main form of manifestation of the spiritual culture and ideological and aesthetic views of the Bashkir people until the beginning of the 20th century, extensive in scope and diverse in genres. His nationally original genres vividly reflected the rich inner world, history and life, dreams and aspirations of the Bashkir people. The best epic genres were created by masters of improvised artistic expression, saesengs.

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

The purpose of this work is to analyze Bashkir oral poetic creativity as the most important element of Bashkir folk art, analyze its main genres, identify the connection between literature and oral poetic creativity and consider the creativity of sesen (using the example of Buranbai Yarkeysesen and Ishmuhammetsesen).

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

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

The best epic genres were created by nameless masters of improvised artistic expression, saesengs. In their work, the Kubair genre achieved particularly great perfection and unique national poetic originality.

Kubair (kobayir) is the main genre form and folk type of verse of Bashkir heroic tales. Kubairs are typologically close and related, for example, to Russian epics, Ukrainian dumas, Kazakh zhirs, Yakut olonkhos, Caucasian sarts. Professor A.N. Kireev explains the word “kubair” as “a good, glorious song,” i.e. song of worship. And indeed, the main ideological and thematic content of the kubairs is associated with the glorification of the Motherland, native Uraltau, the people and its glorious warriors. The deep social patriotic content of the kubairs, their emotional strength, the words of the sesen about protecting good and castigating evil, their call to the people to defend their native land in battle with enemies gave this epic genre the greatness and power of the mandate-cry of the Motherland, poetic instructions and behests of the ancestors.

In kubairs, perhaps more than in any other genre of oral and poetic creativity of the Bashkirs, the art of eloquence and folk wisdom are revealed. In the old days, yiyyns (public meetings), large celebrations and various holidays were places to test the resourcefulness and skill of the saesens. They often spoke on behalf of the people - tribe, clan, expressed their thoughts and aspirations, the yiyyns unusually increased the social importance of the Kubairs. On their basis, a unique, as if independent, genre of eitesh arose, as did the Kazakh aitys, a poetic competition of sesen.

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

One of the peculiarities of Kubairs is the fact that they often use proverbs, sayings, and popular expressions. Some consist almost entirely of aphoristic sayings. The most significant and original heroic tales of the Kubairs are “Ural Batyr”, “Akbuzat”, “Zayatulyak and Khyukhylu”, “Alpamysha and Barsynkhylu”, “Kuzykurpyas and Mayankhylu”, “Kusyakbiy”.

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

The thematic conclusion of the poem about the Ural batyr is the legend “Akbuzat”. In the legends “Kuzykurpyas and Mayankhylu”, “Aldar and Zukhra”, “Kusyakbiy”, in contrast to the mythological epic, life, customs, beliefs, traditions of nomadic farming, festivals, and sports competitions are actually depicted. They are filled with deep lyricism, motives of love and fidelity, devotion to each other. In the evolution of the epic traditions of Bashkir folklore, especially in the 18th - 19th centuries, there is a close interweaving and interpenetration of kubair and historical songs and baits. Bashkir baits are usually dedicated to socio-historical events of heroic-tragic or highly dramatic content. For example, in the bait about Kinzakeevo, it is told about the burning of the village of Kinzakeevo (now the village of Petrovskoye, Ishimbay district) by punitive forces. “Bait about the Earth” depicts the invasion of robber royal officials into the Bashkir lands. The artistic expressive properties of baits are determined by the combination of features in them that come from song creativity and written poetry. The simultaneous creation and existence of songs and baits about the same important historical events later turned into a wonderful tradition of Bashkir oral poetic creativity.

Approximately in the XVIII - XIX centuries. An extremely rich and widespread form of folk poetry was finally formed - the song and musical classics of Bashkir folklore. There are a variety of themes and genre forms in this repertoire: from historical classical songs about the Motherland and batyrs (“Ural”, “Salavat”, “Azamat”, “Kakhymtyure”, “Kutuzov”, “Caravanserai”, etc.), canton commanders (“Sibaikanton”, “Kuluykanton”, “Kagarmankanton”), about exiles (kaskyn yyrzary) - such as “Buranbai”, “Biish” to everyday, ritual songs (senley, telek yiry) and excellent songs about women’s lot (“Tashtugai” , “Zulhizya”, “Shaura”, “Gilmiyaza”, etc.).

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

In all its types and genres, Bashkir song and musical creativity truthfully reflects the life of the people, their customs and beliefs, thoughts and aspirations. The song both comforted and inspired the person. The song treasury, enriched over the centuries, has absorbed the wisdom and spiritual beauty of the people. The features of the artistic self-awareness of people of the most ancient period are reflected in fairy tales. The Bashkir epic most richly represents fairy tales, fairy tales, everyday tales and stories about animals. Fairy tales reflect man's fear and surprise at the incomprehensible forces of nature, show man's struggle with these forces, and overcoming them. The rich nature of the Urals - the abundance of mountains, forests, waters - could not help but amaze a person’s imagination, and not arouse the desire to find a feasible explanation for incomprehensible phenomena. The main characters of Bashkir magical folk tales are: azhdaha, yukha, div (or diyu, due), peri, gin, myaskiai - evil spirits and creatures hostile to people. Among the positive characters, the winged horse Tulpar stands out - the faithful servant of the fairy-tale hero and the huge bird Samregosh, which saves the hero because he saves her chicks from azhdahi (dragon). The fairy tale tradition has also developed a whole range of magical objects that make it easier for the heroes to perform their exploits.

The most widely used of them are the self-cutting sword, the self-cutting ax, the invisible cap, water, which increases or decreases strength; a comb from which a forest grows; a mirror turning into a lake (river, sea); kurai, from which blood drips if the hero is in trouble, or milk - if the hero is lucky; medicinal herb; clothes that don't wear out; bread that never runs out, etc.

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

The heroes of everyday fairy tales reflect the vital interests of the people in their actions; they act as exposers of untruths. Fairy tales always end with the hero returning to his homeland with victory. The hero’s attitude towards his native land is clearly expressed in the saying: “It is better to be an ultan (outsole) in the homeland than a sultan in a foreign land,” which often serves as the ending of fairy tales from the everyday cycle. This sublime feeling of love for his homeland and longing for it captures the hero the more powerfully the further he goes from his land. So, in one of the fairy tales, the king decided to marry his daughter to someone who would climb to the top of a very high pillar with a glass of water on his head and calmly descend. The hero of the fairy tale fulfilled this condition. He reached the very top of the pillar, the water did not spill from the glass, but tears flowed from his eyes: the hero saw his native land from there, and melancholy and sadness fell upon him.

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

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

Oral poetic classics continue to provide aesthetic pleasure today. The living development of the traditions of verbal musical art of the Bashkir people, its exceptional role in the formation and growth of Bashkir culture is evidenced, in particular, by the fact that its entire development proceeds to a large extent on the basis of the widespread use of the richest folklore.

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

Sesens are Bashkir folk poets, improvisers and singers. They improvise in the form of a song recitative to the accompaniment of dumbyra.

Sasen competitions were held on yiyyns. Sesens were considered by the people as the most respected personalities. They were not limited to just poetry, but were active public figures: they were keenly interested in the life of the people, always found themselves in the thick of important historical events, and with fiery poetic words they called on the people to actively fight for their spiritual freedom. The kubair “Dialogue of Akmurzysesen and Kubagushsesen” (“Akmyrza sesen menen Kobagosh sesenden eiteshekene”) expresses the social ideal of the sesen: “He does not protect evil, he does not spare the enemy, he loves justice, the grief of the country is on his lips, the joy of the people is in his songs " Some sesen were participants in peasant uprisings on the territory of Bashkortostan, and the poet and improviser Salavat Yulaev was the leader of a large peasant movement. The names of many talented sesen of the 14th-18th centuries, closely associated with the history and spiritual culture of the Bashkirs, have been preserved: Khabrau, Erense, Kubagush, Karas, Mahmut, Baik, Aidar, etc. In the end. 19 - beginning 20th centuries their traditions were continued by Ishmuhammet Murzakaev, Gabit Argynbaev, Khamit Almukhametov, Sabiryan Mukhametkulov, Shafik Aminev Tamyani, Valiulla Kulembetov. In the post-war years, the most popular were the works of M. Burangulov, F. Davletshin and S. Ismagilov, they were awarded the title of people's sesen of Bashkortostan. Nowadays, the sasaeng traditions are being actively revived.

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

BURANBAYARKEY(1781-1868)

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

ISHMUHAMMETSESEN(1781-1878)

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

Ishmuhammet sesen had a great influence on the work of subsequent sesen and kuraists, in particular on Gabitsesen. Sesens of each generation were concerned about the fate of the people, their plight, they called for remaining faithful to the best human qualities developed by the working masses over many generations. Poetic works of oral authors were distinguished by the significance of their content, depth of thought, and apt imagery of language. Some lines from their improvisations subsequently became popular proverbs and sayings. Loving and respecting the creativity of sasen, the people also expressed their attitude towards them in proverbs and sayings. For example, there are such aphorisms:

Hold your tongue in front of your saeseng.

The greatness of the sesaeng lies in his poetic words.

The word sesaeng is for everyone.

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

Conclusion

The oral and poetic creativity of the Bashkir people is the history of this people. It began in ancient times and for centuries it was and is the center of the soul of the people, reflecting the thoughts and aspirations of the people. People never stop their creativity. When there was no written language yet, people created orally. Fairy tales and stories, sayings and proverbs spread from mouth to mouth. They also passed from generation to generation. As they moved from storyteller to storyteller, they were enriched and improved. The works of sasen and individual wordsmiths, spreading among people over the centuries, became the works of the people themselves.

Folklore teaches people how to live. Encourages you to always be honest and decent. Calls to understand the beauty of the world. Teaches you to follow the good example and avoid the bad. Welcomes the greatness of the struggle for the happiness of the people. The continuously developing and enriching oral poetic creativity of the Bashkirs served as a source and breeding ground for national fiction and largely determined its initial development. Oral poetic classics continue to provide aesthetic pleasure today. The living development of the traditions of verbal musical art of the Bashkir people, its exceptional role in the formation and growth of Bashkir culture is evidenced, in particular, by the fact that its entire development proceeds to a large extent on the basis of the widespread use of the richest folklore.

Bashkir sesen folk art

List of used literature

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

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

3. Bashkir folk epic. M., 2014.

4. Bashkir traditions and legends. Ufa, 2013.

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

6. Bashkir folk tales. Ufa, 2013.

7. Khisametdinova F. G. et al. Native Bashkortostan. Ufa, 2014

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Municipal budgetary educational institution of additional education for children, Palace of Children's and Youth Creativity "Orion" of the city of Ufa, Republic of Belarus.

Research work.

Musical culture of Bashkortostan.

Completed by: Shutanova Ksenia Dmitrievna

Pupil of the association “Teaching the violin”

Head: Kudoyarova Alfiya Askhatovna.

Ufa-2014

Introduction.

The goal of our research is to introduce children to the study of all types and genres of Bashkir folk music, to develop a strong interest in this topic and the ability to independently navigate extensive information, applying the acquired knowledge in practical classes.

Chapter 1 Musical creativity of the Bashkirs.

The musical creativity of the Bashkirs is distinguished by deep antiquity. Data from the ethnic history of the Bashkirs, as well as materials contained in the folklore itself, give reason to believe that the formation of Bashkir folk music into a single figurative, semantic and stylistic system occurred simultaneously with the formation of a single Bashkir nationality from various tribal groups. It is known that constantly developing and changing, musical folklore, however, retains over the centuries such primary elements as intonation, voles, modal and rhythmic formations, and in some cases, individual plots and images. Naturally, the processes of the emerging Bashkir nationality were reflected in the system of means of musical expression in the same way as they were reflected in the language and other elements of the material and spiritual culture of the Bashkirs. The richness and originality of Bashkir musical folklore is largely due to the long process of interaction and fusion of the folklore of the ancient Bashkir people with the musical and poetic forms of the Turkic tribes. This process was so organic and gradual, and the role of the music of the ancient Bashkir tribes was so dominant that by the time the unified Bashkir nation was formed, a rich and diverse folklore had developed, distinguished by its originality and unity of style. Existing in the oral tradition, folk art, naturally, is constantly changing. Individual forms and genres die off, and new ones are born to replace them, bearing features of continuity. This process continues from ancient times to the present day.
Of the genres and forms of folk oral tradition that have evolved and replaced each other over the centuries, relatively few monuments have survived. Moreover, they arrived in an updated, so to speak, modernized form, since passing from generation to generation, genres and forms, along with preserving traditional continuity, also absorb new, more modern features. This process is especially clear in folk poetry, where researchers, comparing and analyzing different versions of one legend, like archaeologists, reveal a number of different time layers in them.

Chapter 2 Bashkir folklore: Irtek and Kubair.

The song and poetic folklore of the Bashkirs, preserved from ancient times, with all its diversity of genres and forms, forms two large groups that have much in common.
One of them includes works of folk art with a predominance of textual and poetic principles. The musical side, if present in them, plays a more or less subordinate role. This group includes the ancient legends “Kuzy Kurpes and Mayan Khylu”, “Alpamysha and Barsyn Khylu”, “Akbuzat” and others, which existed in the form of irteks and kubairs.
When performing a folk epic, some musical and poetic patterns are captured. The developed, poetic text of the Kubairs “speaks out” in a singsong voice. The rhythm of the short, recitative style of the Kubair melody is subordinated to the metric of the seven-syllable “Kubair verse”.
A later epic-poetic genre was byte (bayet). Initially, this was the name for poems of book origin, settled in the memory of the people and passed on from mouth to mouth.
Later, a byte began to be called a poetic work of oral tradition, which is based on a significant, most often dramatic plot, telling about a historical or everyday event, about bright, heroic personalities.
Unlike the genres of irtek and kubair, which are not developing in modern conditions (not a single irtek and kubair on a modern theme has been recorded), byte is a living, viable form of epic that is actively developing. We can say that it essentially absorbed the functions of irtek and kubair and became a living modern form of folk epic. Folklore expeditions annually record more and more new bytes on the topic of the civil war, the partisan movement, and the Patriotic War.
Bytes, like kubairs, are performed in a recitative chant, but the tunes are more varied and individualized, based on a specific melodic cell

Chapter 3 Bashkir folklore: historical songs and tunes.

Another large group of Bashkir folklore, embracing all aspects of folk life, is formed by musical genres. These are primarily historical songs and tunes. They formed as a genre during the heyday of the traditional Bashkir epic and absorbed many features of epic forms. A number of texts of historical songs and legends for instrumental tunes contain themes, images, artistic and structural features of Kubair verse.
The heroic epic is associated with historical songs about the fate of the people, about the unity of tribes and clans, about the harmfulness of ruin and civil strife, about the defense of the homeland ("Ural", "Semirod", "Iskender", "Sultanbek", "Boyagym Khan"). By the legends to the songs, as well as by their specific historical content, one can judge the time of origin of a number of songs. For example, the legend song “Ural” says that the song was composed in honor of the return of the Bashkir ambassadors from the Russian Tsar Ivan the Terrible.
No later than the 18th century. a new layer of historical songs arises in which the patriotic theme of the homeland and national unity is intertwined with angry motives of protest and the fight against oppression and colonization (see songs “Ravage”, “Koloy Canton”, “Tevkelev”, etc.). The lyrics and melodies of such songs are full of drama. They depict images of oppressors and rapists of the people, and express popular hatred.
The theme of homesickness was reflected in the historical songs of this period. The heroes of the songs are very real people who remain in people's memory as brave, disobedient sufferers for a just cause ("Buranbai", "Biish", etc.).
The military theme is also characteristic of Bashkir historical songs, revealing itself widely from various angles. Her vivid images “Kutuzov”, “Lubizar”, “Squadron”, “Second Army” - about the participation of the Bashkirs in the Patriotic War of 1812; "Port Arthur" - about the Russian-Japanese War; "Tsiolkovsky" - about the unlucky and cruel military commanders of the Bashkir troops (19th century).
Historical song is an actively developing genre, reflecting the most important moments in the history of the Bashkir people. There are songs about the events of the First World War, about the revolution, the civil war, about the memorable days of our reality.

Chapter 4 Folk songs and rituals of the Bashkirs.

A wide and varied layer of folk songs is associated with life and everyday life, with labor processes. There are entire cycles of songs about horses, hunting, and shepherd’s life. (Songs and tunes “Kara yurfa” - “The black pacer”, “Saptar yurfa” - “The green pacer”, “Burte at” - “Karakov horse”, “Alhak kola” - “The lame savras horse”, “Yulfotto hunarsy” - “Hunter Yul gotto”, “Irendek” (name of the mountain), “Ak yauryn sal berket” - “Golden eagle with white shoulders and a gray head”, etc.).
The everyday rituals of the Bashkirs are also rich in songs. The most developed and colorful ceremony has long been the wedding ceremony. It is distinguished by great originality, and many of its features are reminiscent of ancient times. Ethnographers attribute to the period of decomposition of the clan system such elements of the Bashkir wedding as the payment of kalym, a secret visit to the bride by the groom, elections for the bride kiemetlek esei, kiemetlek atay (named mother and father from the groom’s relatives), throwing the bridegroom the morning after the wedding into a stream of a silver coin, etc. d. Songs are an integral part of a Bashkir wedding. Wedding song genres include senlyau (senleu - lamentation, crying), telek (telek - wishing the newlyweds all kinds of well-being), hamak (hamak - wedding recitative), festive, drinking songs sung at a wedding feast (tuy yiry, mazhles yyry).
The songs “Crow Porridge” and “Crow Festival” are associated with spring ritual games. There are large cycles of songs and chants about rivers, streams, and lakes. Many of them probably go back to the time when the Bashkirs had a cult of nature and animals. You can at least refer to the songs “Zayatulyak”, “Agidel”, “Irendek”. There is a wide range of songs dedicated to mountains, valleys, images of sounding nature, and birds. Many of them are lyrical in nature, and the images of nature in them push aside psychological aspects and human moods. These are the songs “Kurtash” (mountain), “Mountain Song”, “Cuckoo”, “Burenushka”, “Ringing Crane” and many others.
The lyrical songs are rich in theme and genre shades. Among them there are original “valiant songs” that reveal the world of thoughts and feelings of a Bashkir traveler, a horseman, the reflections of an experienced person who has seen a lot in life. These include the songs “Passed Life”, “Traveler”, “Ilyas”, “Azamat”.
An independent group consists of lyrical songs about girls' and women's lives. Such as “Tashtugay”, “Salimakai”, “Zyulhizya”, “Shaura” represent classic images of Bashkir lyrical melodies. Love lyrics are very developed in Bashkir music. Love songs are distinguished by chastity, poeticization of the feeling of love and its carriers.
Among everyday songs, drinking songs, guest songs, songs on comic and satirical subjects, as well as dance songs are quite widely represented. An independent group consists of lullabies and children's songs. At the end of the 19th century. the so-called songs of the Zimogors appeared, reflecting the work and life of the Bashkirs working in the fields, factories and factories.

Chapter 5 Instrumental folk music of the Bashkirs.

The songs and instrumental tunes of the Bashkirs are close in content and musical style, although, of course, there are specific differences in the nature of the instrumental tune from the vocal melody.
The instrumental folk music of the Bashkirs, represented by tunes on the kurai, less often on the kubyz, and in the post-revolutionary period on the accordion and violin, is mainly programmatic. The content of the programs mostly coincides with the content of the songs. The performance of songs and tunes is often preceded by a legend (yyr tarihi) about the history of the origin of a given song or tune. The legends preceding the performance of instrumental music reveal the content of the work being performed.
The closeness of the vocal and instrumental forms of Bashkir folk music is evidenced by the presence of such an original type of music-making as “uzlyau” (ezleu), which is a special way of performing two-voices by one singer, which is a kind of imitation of the sound of the folk instrument kurai.
The classic genre of folk song is the group of uzun kuy (long-drawn slow songs and tunes). Essentially, the term uzun kui (ezen kei) is not only a definition of the type of melody; it is popularly used to define the genre and style features of both the tune itself and the style of its performance. In a broad sense, uzun kuy is a set of stylistic and genre techniques developed by centuries of artistic practice, when the creator of the tune was also its first performer, when the skill of improvisation, within the limits of aesthetic norms developed by tradition, lay at the basis of folk art. In a narrower sense, uzun kuy means a slow, drawn-out song or tune. Instrumental melodies in the Uzun Kuy style are most often variants of songs, quite unique and developed in their form.
The term “kyska kyuy” (kyska kay), i.e. short song, defines a very wide layer of folk song art, vocal melodies and instrumental tunes in the kyska kyuy genre are usually associated with everyday and lyrical themes, but there are kyska kyuys with historical Topics.
Just like songs of the uzun kuy type, songs in the kiska kuy style have their own characteristic features, which probably developed over a very long period. The concept of kiska kuy, just like uzun kuy, includes certain stylistic features of the tune and the nature of its performance.
According to their content and genre characteristics, kiska kyu tunes can be divided into several groups. A number of songs in the kiska kui style are popularly called halmak kay, i.e. calm song. They are performed at a moderate tempo, have a lyrical and contemplative character, and most often they glorify images of nature. You can cite, for example, the songs “Tyuyalyas”, “Round Lake”, “Steppe Erkei”.
Thus, Bashkir folk musical creativity is rich and diverse both in content and genre. It is in constant development, and its specific features have a strong impact on modern Bashkir musical culture.

Conclusion.

Thus, we see that the history of folk music in Bashkortostan is very rich and meaningful. Modern musical culture is inextricably linked with its roots and is in constant development. There are a lot of outstanding composers and musical groups performing folk music in our republic. In our palace of children's and youth creativity there is a music studio "Lira", where children learn to play various musical instruments. The leading place in the repertoire of students belongs to Bashkir folk music, works of the best composers of the Republic of Belarus. Our plans for the future: to continue the work begun on the study of folk music, to involve educational institutions in our region in joint work and creativity.

I want to believe that we are on the right path!

Bibliography:

Bashkortostan. Brief Encyclopedia, ed. R.Z. Shakurova Ufa, publishing house: "Bashkir Encyclopedia", 1996.
Essays on the culture of the peoples of Bashkortostan. Comp. Benin V.L. Ufa, publishing house: Kitap, 1994.
Website on the Internet: http://lib.a-grande.ru/music.php

I APPROVED

Branch Manager Director

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

N.E. SelivYerstova ______ L.Z.Sharipova

"___" _______ 2016 "___" _______ 2016

PLAN
EDUCATIONAL WORK
ASSOCIATION "BASHKIR FOLKLORE"

FOR THE 2015/2016 SCHOOL YEAR

BASED ON

ADDITIONAL GENERAL EDUCATION
(GENERAL DEVELOPMENTAL MODIFIED) PROGRAM
BASHKIR FOLKLORE

Khismatullina G.G.

Bashkir teacher

language and literature

village Salikhovo

Explanatory note

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

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

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

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

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

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

Relevance of the program

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

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

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

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

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

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

Program directions

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

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

Novelty of the program

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

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

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

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

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

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

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

Program objectives:

Educational:

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

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

Educational:

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

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

Educational:

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

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

To develop the ability to find beauty in folk art.

Content and direction of educational activities

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

Oral folklore.

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

Musical and song folklore.

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

Ethnographic information.

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

Games

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

Folklore theatre.

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

Holidays

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

Forms of conducting classes

Each lesson for each section has the following structure:

Conversation on one of three topics:

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

Listening and perception of music.

Singing, dancing.

Musical and folklore games.

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

Lesson mode

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

Expected results

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

About the family traditions of the Bashkir people;

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

About the national costume of the peoples living in Bashkortostan;

About the national calendar;

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

Learn:

Perform Bashkir folk songs;

Perform dance movements;

Organize and conduct folk games.

Children will be able to cultivate in themselves:

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

The ability to see beauty in folk art;

Adequate self-esteem.

Forms of control for testing knowledge, skills and abilities.

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

Individual approach and control is carried out:

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

In the form of reporting concerts.

Methods for tracking results

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

2) Test tasks and quizzes.

3) Conversations with children and their parents.

4) Collective creative activities.

Objectives of the first year of study

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

Introduce yourself to local folklore.

Cultivate moral feelings.

To instill practical skills in performing folklore chants.

Curriculum for the first year of study

144

105

Contents of the first year program.

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

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

Section 3. Autumn.

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

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

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

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

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

Section 4 Winter

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

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

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

Topic 4.4 Folklore theater. Theory.

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

Section 5 Spring

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

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

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

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

Topic 5.5 Ethnographic information. Theory.

Section 6 Summer.

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

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

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

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

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

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

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

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

Objectives of the second year of study

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

2) Deepen previous knowledge.

Curriculum for the second year of study

p/p

Topic name

Total

hours

Theory

Practice

Introductory lesson. Safety training

Introduction to the subject.

Image of a bird.

Animal image.

The tree of Life.

Family and everyday life.

Heavenly bodies.

EthnographicallyIexpedition

Final lesson.

Educational work

144

114

Contents of the second year program

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

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

Topic 3 Image of a bird.

● Oral-poetic folklore. Theory . Artistic reading and discussion of 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

p/p

Name of sections and topics

Total hours

Theory

Prak

teak

date

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

Getting to know the circle plan.

16.09

Introduction to the subject.

The people who created folklore.

Genres of folk art.

20.09

Autumn

Oral poetic folklore

Collectors of Bashkir folklore.

27.09

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

Riddles, proverbs about autumn.

30.09

Jokes, nursery rhymes, teases

Folk signs, their role in human life.

30.09

Musical folklore Learning a lullaby.

4.10

Learning songs about autumn, about the harvest.

Ditties.

7.10

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

Fairy tales.

10.10

Learning tongue twisters.

Work on the development of vocal and choral skills.

14.10

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

18.10

Folk games. Conversation about folk games.

Traditional folk games.

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

Educational games.

21.10

25.10

Learning counting rhymes.

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

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

28.10

1 3

Folklore theater

Acquaintance with folk ritual holidays.

Seasonal and traditional holidays of the Bashkirs.

1 .11

1 4

Preparation for the autumn holiday “Sumbyul Bayramy”.

4.11

8.11

11.11

Preparation and holding of the “Sugym Ashy” holidays.

Entertainment"Daughters and mothers."

15.11

Ethnographic information

18.11

Winter

Oral-poetic folklore. Proverbs and sayings about winter.

Nfolk signsabout winter.

22.11

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

25.11

29.11

Musical folklore.

Conversation about folk dances.

2.12

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

6.12

20.12

Mastering the movements of folk choreography.

Unlearningdancing « Naza» . Practicing dance elements.

Practicing movementsdancing

Practicing the entire dance « Naza» .

9.12

13.12

16.12

Folk games

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

23.12

Folklore theater

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

27.12

Preparing the holiday"Winter Nardugan".

30.12

Preparing the holiday"Kis ultyryu."

6.01

Ethnographic information.

Winter work in the village.

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

10.01

Spring

Oral poetic folklore

Calls of spring.

Appeal to the sun, rain, earth.

13.01

Sayings, folk signs about spring.

Observations of nature using signs of spring.

Proverbs about spring.

17.01

Musical folklore

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

20.01

Individual work on voice training, preparation of solo numbers.

24.01

Practicing folk choreography movements.

27.01

Round dance game songs.

Comic songs.

7.02

Folk games.

Games with the arrival of spring.

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

10.02

14.02

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

Games for liberation.

17.02

Outdoor games based on fairy tale themes.

Bashkir folk games for the holiday.

Entertaining games.

21.02

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

24.02

28.0 2

The holiday “Kar syuyna baryu” in literature.

Rituals of the life cycle.

3.03

7.03

10.03

Ethnographic information

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

Ancient crafts of the Bashkirs Arkan Isheu, etc.

14.03

Summer

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

My favorite fairy tale characters.

Reading and watching fairy tales.

Storytelling competition.

17.03

21.03

Musical folklore. Conversation about song genres.

24.03

Labor songs. Songs and dances.

Song competitions, ditties.

Combining the studied elements of dance with songs.

Learning the dance “Mower-thresh”lka".

Practicing dance elements.

Practicing dance movements.

Practicing the entire dance.

31.03

4.04

7.04

11.04

4 5

Folk games.

Preparation for children's Sabantuy.

14.04

18.04

21.04

4 6

Folklore theater

Getting to know the holiday

25.04

28.04

Getting to know the holiday

"Nardugan". "Summer Nardugan".

Preparation and holding of a ritual holiday.

2 .05

5 .05

8.05

10.05

Ethnographic information

12.05

Final lesson

15.05.

Educational work

Harvest festival "Syumbul Bayramy"

28.10

Holding the holiday “Winter Nardugan”

April

Internal event “Farewell to the year of cinema.”

Holding the spring holiday “Nauruz Bayramy”

Participation in the Rainbow of Talents festival

Internal event “I am a child of nature”

Carrying out the holiday “Karga Butkasy”.

Participation in competitions and festivals.

In current

of the year

144

9 0

Ministry of Education of the Republic of Bashkortostan

Municipal government agency

"Department of Education of the Municipal District of Yanaul District of the Republic of Bashkotostan"

Municipal budgetary educational institution Lyceum of Yanaul municipal district Yanaul district of the Republic of Bashkortostan

Research

Bashkir folklore in mathematics lessons

Nomination mathematics

Head: Kilina Elena Grigorievna,

Sovetskaya str. 25, apt. 62,

tel.89177437588

Introduction 3

Chapter 1 Theoretical part

Folklore of the Bashkir people 4

Chapter 2 Practical part

2.1 Objectives of local history folklore 6

2.2 Results 8

Conclusion 9

Literature 10

Introduction

When I first crossed the threshold of school, I was very worried about how I would study, whether I could overcome the fear of difficult tasks and questions. But our first teacher did everything to ensure that our class overcame all difficulties with ease. And the great merit is that she associated many tasks with fairy tales, sayings, counting rhymes, and proverbs. Now I am in the fifth grade and it became very interesting for me to study the influence of folklore on the development of mathematics, since in middle school, when studying new mathematical terms, we often associate them with folklore.

We live in the era of computers and an endless flow of various data. All these achievements are based on mathematics. No matter what science we look into, we will find mathematics everywhere. “Mathematics is the language spoken by all exact sciences,” the great Russian mathematician N.I. once wrote. Lobachevsky.

The relevance of my work is that mathematics and the world around us are very interconnected. And the beauty of the mathematical language can be shown not only by solving complex mathematical problems, but also problems related to folklore. With the help of folklore, you can see the beauty of mathematical patterns that describe many processes and phenomena of the surrounding reality.

The purpose of my work: to study the themes and genre features of mathematical folklore based on Bashkir fairy tales, counting rhymes, and proverbs.

Subject: means and genres of folklore that allow you to search for the most interesting forms of work.

To achieve this goal, it is necessary to complete the following tasks:

get acquainted with the origins of folklore.

study the features of folklore form with mathematical content.

prepare a collection of tasks related to Bashkir folklore.

conduct a survey among 5th grade students.

Based on the purpose of the object and the subject of the study, it is formulated hypothesis, which lies in the fact that during the study the process of shaping the development of ingenuity, imagination, and creative thinking of students will be more effective and will allow, along with mathematics, to study the history and culture of their region.

At the first stage of work, we became acquainted with the origins of Bashkir folklore and studied the features of folklore form with mathematical content. At the second stage, we created a collection of problems related to the culture and history of Bashkortostan .

As a result of the work carried out, we were convinced of the correctness of our hypothesis. The result of the work is a collection of entertaining, logical examples and problems related to the culture and history of our region, the author of which is me and my classmates, students of the mathematics class.

Chapter 1

Folklore of the Bashkir people.

The term “folklore” (translated as “folk wisdom”) was first introduced by the English scientist W. J. Toms in 1846. At first, this term covered everything spiritual (beliefs, dances, music, wood carving, etc.), and sometimes material ( housing, clothing) culture of the people. In modern science there is no unity in the interpretation of the concept of “folklore”. Sometimes it is used in its original meaning: an integral part of folk life, closely intertwined with its other elements. Since the beginning of the 20th century. the term is also used in a narrower, more specific meaning: verbal folk art.

Bashkir folklore is the oral folk art of the Bashkir people, represented by labor, ritual and everyday songs, fairy tales, and legends. Bashkir folklore was created and passed down orally over generations over the centuries. Its creators and bearers were folk singers and musicians, dancers, yyrau

The themes of Bashkir folklore were the views of the ancient Bashkirs on nature, moral ideals, their life and aspirations. Folklore was the source of their knowledge.

The features of folklore include its oral transmission, improvisational and collective performance, and multivariate nature.

The genres of Bashkir folklore are fairy tale, epic, kulyamas, fable, lakap, fable, kulyamas-riddle, boring tale, satire, parable, saying, proverb, riddle, nasikhat, etc.

Based on their involvement in the social and everyday activities of people, Bashkir folklore is divided into ritual, children's, song, dance, local history, etc.

The Bashkirs have a rich folklore of songs. Dance, comic, and game songs accompanied the festivities and entertainment. The ditty, baits, became widespread. Small genres of folklore that relate to children's folklore are widespread, such as chants, sentences, riddles, proverbs, sayings, omens, and fairy tales.

Local history is a complete study of a certain part of the country, city or village, and other settlements. Such studies, as a rule, are carried out by scientific specialists who have limited themselves to this region (archivists, architects, biologists, military officers, geographers, historians, ecologists, ethnographers), as well as enthusiasts from the local population. Scientific local history in Bashkortostan arose, as well as in Russia as a whole, only in the 30s of the 18th century. Therefore, in ancient times, the Bashkirs passed on many interesting facts about their region from mouth to mouth, in the form of fairy tales, legends, and myths.

Folklore dance is a genre that has clearly preserved ethnic symbolism, information content and national recognition.

Dance is an art form in which an artistic image is created through rhythmic plastic movements and changes in expressive positions of the human body.It is impossible to create a beautiful dance without graphs of mathematical functions. A beautiful dance is a beautiful graph that can be written down with a mathematical formula. Movements are changes in the plane that preserve the size and shape of objects. Examples of movements are symmetry, parallel translation and rotation. Such geometric movements take place in many Bashkir dance performances.

Symmetry in dance consists of: the use of figures in a dance design that have a center or axis of symmetry, a balanced position of the dancer’s body, the location of the dancers in space, and the simultaneous performance of the same movement by the dancers.

Symmetry allows you to make the dance pattern beautiful and synchronous, helping to create a harmonious design of space. Dance can be considered as the creation of patterns in space, including those consisting of geometric shapes. The dance pattern is the location and movement of the dancers on the stage. The design of the dance depends on the design of the number, its ideas, musical material, rhythm, tempo, and nationality of the dance.

In the modern choreographic folklore of the Bashkir people, dance forms dating back to ancient times are preserved (photo 1, Appendix 3). Some of them are a circle in movements and a circular dance (tүңәрәк). The circle is an ancient action that has the magic of healing, protection, and the meaning of a way to control natural elements. In the magical rites of the Bashkirs, there is a protective meaning of a circle (an overnight stay in a field is outlined in a circle, the first thunder is met by making a circular walk around the house, barn, etc.). In circle actions, the ideas of preserving, acquiring, multiplying strength and vitality are carried out: for the wrestler, the kuresh (bid of wrestling), pronouncing good wishes, encircles the camp in three layers, going around it; the same action is performed when escorting a warrior to battle or a bride from her father’s house.

It has been proven that dancing has a beneficial effect on a person’s mental abilities. While dancing, you need to constantly think, think about every type of movement, order, rhythm. By connecting the elements of dance, we build logical chains. Spatial imagination develops. Dancing is a good way to train your intelligence!

Mathematics and the world around us are very interconnected. And the beauty of the mathematical language can be shown not only by solving complex mathematical problems, but also problems related to folklore. With the help of folklore, you can see the beauty of mathematical patterns that describe many processes and phenomena of the surrounding reality.

Folklore material also has great potential for developing mathematical abilities. Tasks offered in folklore forms often require a non-standard solution. This forces children to compare, analyze, and reason. Thus, ingenuity, imagination, and creative thinking develop.

Chapter 2. Practical part

2.1 Objectives of local history folklore

The tasks of local history folklore are of great importance. Learning math doesn't have to be boring. You can gain interest by solving problems that reflect facts and interesting information about your region.

Task 1. There are about 3840 rivers and lakes in Bashkiria. Rivers make up this amount. How many rivers and lakes are there in Bashkortostan?

Answer: 1120 rec.

Task 2. The highest point of the Republic of Bashkortostan is Mount Yamantau. Its height is 1638m. And the lowest point is located at the mouth of the Belaya River and in

26 times lower than Mount Yamantau. What height above sea level is the lowest point.

The answer is 62 meters above sea level.

Task 3. Write down the numbers that appear in the text:

The area of the Republic of Bashkortostan is one hundred forty-three thousand six hundred square meters. km. In the north it borders with the Perm and Sverdlovsk regions, in the east - with the Chelyabinsk region, in the southeast, south and southwest - with the Orenburg region, in the west - with the Republic of Tatarstan, in the northwest - with the Udmurt Republic. The population of the republic is four million one hundred four thousand three hundred thirty-six people. There are eighteen cities in Bashkortostan.

The territory of Bashkortostan falls within four geographical zones of the temperate zone: mixed forests, deciduous forests, forest-steppe and steppe zones. More than one third of the republic's territory is covered with forests. Seventy-three percent of the steppe zone and thirty-one percent of the forest-steppe zone are occupied by black soil. There are more than thirteen thousand rivers and two point seven thousand lakes, ponds and reservoirs in the republic.

Problem 4 . The area of the Republic of Bashkortostan is 143600 . The total area of the capital of Bashkortostan, Ufa, is about 707 . Determine how many times the area of Ufa is smaller than the area of Bashkortostan.

Answer: 203 times

Task 5. The monument to Salavat Yulaev is the largest equestrian statue in Russia, 5.6 m higher than the monument to Alexander Matrosov, a 19-year-old soldier who obscured a German machine gun with his body. Find the height of the monument to Salavat Yulaev and the height of the monument to Alexander Matrosov if their total height is 14 m.

Answer: 9.8 m and 4.2 m

Problem 6 . The length of the Cueshta cave, the largest gypsum cave in the Southern Urals, is about the length of the Kapova Cave, famous for its ancient wall paintings of mammoths, rhinoceroses, and wild horses. Find the length of the Cueshta cave if the length of the Capova cave is about 3047 m.

Answer: 554 m

Problem 7 The length of the territory of Bashkortostan from west to east is 80 km less than from north to south. Find the length of the republic from west to east, if from north to south it is 550 km. Write your answer in meters.

Answer: 470000 m

Problem 8. A truck with a speed of 73 km/h and a passenger car with a speed of 109.5 km/h simultaneously left Ufa for Yanaul. How many kilometers will the truck be behind the car 1 hour after it starts moving? How long will it take for the cars to arrive in Yanaul if the distance between the cities is about 219 km?

Answer: 36.5 km, truck in 3 hours, car in 2 hours.

Problem 9. Bashkir honey has no analogues in the world in terms of its healing and taste qualities, as well as its unique composition of microelements. So linden honey contains 36.05% glucose and 39.25% fructose. How many grams of glucose and fructose are contained in a 3 liter jar of honey, if 1 liter of honey weighs 1 kg 440 grams.

Answer: 1557.36 g glucose, 16 95.6 g fructose

Problem 10. At the national holiday "Sabantuy" at horse racing, one of the horses ran two laps. One lap is 1600 meters. The second horse ran one and a half laps. How many meters further did the first horse run than the second?

Answer: 800 meters.

Problem 11. Kurai- national Bashkir, similar to. TO urai It is made from the stem of the umbrella plant Ural ribs, has 4 playing holes on the front side and one on the back. Kurai made by grasping the stem with your hands alternately, measuring 8 to 10 times the width of your palm, then trimming it. The holes are cut starting from the bottom: the first - at a distance of 4 fingers, the next three - at a distance of 2 fingers, the last, 5th - on the back side, at a distance of 3 fingers from the 4th hole. At what distance will the 5th hole be located if the width of the palm of four fingers is 8 cm, and all fingers are the same width.

Answer: 26 cm

2.2 Results

During the research work, we compiled a collection of problems that we proposed to be solved in 5th grade, in order to find out how much the problems proposed in this form would interest my peers. The survey was conducted among 108 students (photo 2, photo 3, Appendix 3).

We presented the results in the form of a diagram (Fig. 1, Appendix 3), which clearly shows that the students liked solving the problems, they showed interest, and even if there was no correct solution, they were attracted by the content of the problems.

When asked why they liked the problems from the collection, the most common answer was: we learned interesting facts about our Bashkortostan.

My classmates in the math class like to solve various problems. But I think that the use of tasks related to the history and culture of one’s region will not only improve the skills of solving word problems, but will also help broaden the horizons of students, instill an interest in mathematics and a love for one’s region. The ability to solve problems will help you achieve good results in various intellectual competitions.

Conclusion

Once upon a time, a big prize was announced for anyone who would write a book on the topic “How did a man live without mathematics?”

No one managed to receive the prize. There was no such person who could write such a book. People have been using mathematical knowledge since time immemorial; we sometimes do not realize how important a role it plays in our lives.

Mathematics has a unique developmental effect. Its study contributes to the development of memory, speech, imagination, emotions; forms perseverance, patience, and creative potential of the individual.

Organized work on the development of mathematical abilities, including various genres of folklore, will help increase the level of development of mathematical abilities.

We offered these problems to 5th grade students (5a, 5b, 5c, 5d) to solve, then a survey was conducted.

The results of the survey showed that many students were interested in solving problems related to the history, culture, and geography of their region. Such problems are solved with great interest and curiosity. Many facts became known to which they did not pay due attention in the lessons of IKB and the history of Bashkortostan.

As a result of the work carried out, we were convinced of the correctness of our hypothesis. The result of the work is a collection of entertaining, logical examples and problems related to the culture and history of our region, authored by me and my classmates, students of the mathematics class.

Thus, our study confirms the possibility and necessity of using such tasks, legends and myths as a means of developing mental operations and spiritual culture in middle school children.

Literature

Bashkir children's folklore /author-comp. A.M. Suleymanova, I.G. Galyautdinov.

Origin of the Bashkir people / author. Kuzeev R.G.

School mathematics Olympiads 5-11 grades/authentic. Farkov A.V.

Infourok.ru

Videouroki.net

Sokrnarmira.ru

Annex 1

Questionnaire

What class are you in? (class letter)

Do you like the subject of mathematics?

Are you interested in solving word problems suggested in the textbook or by the teacher?

Did you like the tasks proposed in the collection (if yes, then why)

Would you like there to be more tasks like this, why?

Appendix 2

collection of problems

Appendix 3

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

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

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

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

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

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

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

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

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

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

Onomastic material

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

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

CHAPTER II

ACCUMULATION OF MATERIAL

BY ETHNIC COMPOSITION