Work program "Yakut folklore". Folklore of the Sakha people as a source for the creation of the “Dictionary of the Yakut Language” by E.K.

Folklore and traditional rituals Yakuts

Yakut folklore includes poetic works performed during traditional rituals - regulated actions dedicated to various moments in the life of the human collective and its individuals. In the past, the Yakuts performed many rituals associated with the reverence of the surrounding world, hunting, fishing, cattle breeding and crafts, as well as with the life of the family, clan, tribe, community, ethnic group, etc.

It should be noted that the Yakuts had both religious and non-religious rituals. Unfortunately, their ratio has not yet been the subject of research.

The attention of scientists was more attracted to rituals associated with the traditional religious beliefs of the Yakuts. A significant contribution to the study of this problem was made by I.A. Khudyakov, V.L. Seroshevsky, G.V. Ksenofontov, A.A. Popov, I.S. Gurvich and N.A. Alekseev. Thanks to their efforts, the order of rituals is mainly described, based on the requirements of the traditional beliefs of the Yakuts, from the worship of spirits and deities, i.e. regulated by Yakut mythology.

Less studied are non-religious rituals that were based on the rational experience of the people and consolidated customs that support cultural, social and age-gender relationships of the ethnic group. The well-wishes of younger members of the team, well-wishes for the bride and groom, and well-wishes of a guest for the hosts have not been the subject of special research by ethnographers and folklorists. The specifics of works of ritual poetry from a folkloristic point of view have been studied even less.

The first attempt to classify the ritual folklore of the Yakuts was made by G.U. Ergis. He identified the following groups of rituals: cattle breeding, fishing, family and household rituals. Out of sight G.U. Ergis completely lost the rituals associated with the craft. In addition, pastoral rituals were not fully represented. Thus, the group of cattle breeding did not include rituals in honor of the patron deity of horse breeding, Dzhosegyoya, rituals at the birth of calves and foals, and rituals performed during haymaking. In the fishing rituals of G.U. Ergis included only part of the hunting ones. This group should also include the rituals of fishermen, as well as rituals associated with the hunt for bears, lynxes and foxes, and actions taken in the event of prolonged failure in hunting. G.U. is far from completely covered. Ergis and family rituals. He briefly touched on the cult of fire and wedding ceremonies. The family rituals, of course, include rituals performed when asking the deities for a child, the birth of children, those associated with raising children, and funerals.

Due to the fact that ritual poetry as a genre of folklore of the peoples of Siberia has not been the subject of in-depth study. The main editorial board of the series “Monuments of folklore of the peoples of Siberia and Far East“held a special scientific and practical conference in 1985 dedicated to this problem. The conference was led by Doctor of Historical Sciences B.N. Putilov. N.A. made a report on the classification of rituals. Alekseev, one of the authors of this article. The report indicated that many Yakut rituals accompanied by the performance of works of ritual poetry. It is noted that the Yakuts and other indigenous peoples of Siberia widely used spells, good wishes, hymns, round dance songs, curses, laments, etc. In addition, it was proposed to cover rituals associated with hunting, fishing and cattle breeding according to the calendar principle.

The book by S.D. is devoted to the problems of studying ritual songs. Mukhopleva “Yakut folk ritual songs”, in which the author, based on the functional-poetic principle, conducts a genre classification of ritual songs. The work mainly examines maternity, wedding, calendar song complexes and songs accompanying the ritual. Thus, only the first steps have been taken in the scientific study of the ritual poetry of the Yakuts.

The situation is more favorable with the recording and collection of works of ritual poetry. But here, unfortunately, in most cases only the texts of spells, choruses of round dances, etc. were written down, and no attention was paid to the musical side. The recording of works of ritual poetry began in the 19th century. Of the pre-revolutionary researchers, the most notable contribution was made by political exiles I.A. Khudyakov and V.M. Ionov. The first studied the Yakut language, ethnography and folklore in 1867 - 1868. Among the works of oral folk art recorded by him, there are examples of ritual poetry. They were included by I.A. Khudyakov in the book “ Short description Verkhoyansk Okrug", published only a hundred years after it was written.

A significant number of works of ritual poetry in the Yakut language were collected by V.M. and M.N. Ionov. The bulk of their materials date back to 1894 - 1896, during the activities of the Sibiryakov Expedition. Of particular interest to V.M. Ionov was interested in the beliefs of the Yakuts, which is why religious spells predominate in his collection. Most of Ionov’s materials were included in the collection prepared for publication by A.A. Popov in 1940. These were spells associated with the veneration of the spirits of the Upper, Middle and Lower worlds, as well as with various aspects of human life. A.A. Popov made a word-by-word translation of these materials. Unfortunately, the collection remained unpublished and is stored in the archive (AIV, f. 22, op. 1).

In Soviet times, a significant number of texts of works of Yakut ritual poetry were recorded. It is known that A.A. Popov conducted an intensive collection of material in the Vilyui region of the YASSR in 1925. His notes are kept in the archives of the Kunstkamera (formerly the Leningrad part of the Institute of Ethnography and Anthropology of the USSR Academy of Sciences), but the leadership did not allow N.A. Alekseev to these materials. Therefore, it was not possible to include A.A.'s recordings. Popov in this volume and give their folkloristic analysis.

The main fund of Yakut ritual poetry was accumulated by employees of the IYALI YaF SB USSR Academy of Sciences (now IGI AN RS (Y)) and lovers of folk poetry. The most valuable recordings were made by S.I. Bolo, A.A. Savvin, A.S. Poryadin, G.U. Ergis, G.M. Vasiliev, I.S. Gurvich et al.

Speaking about the sources of ritual poetry, one should pay attention to the fact that until the 80s. XX century The researchers wrote down texts mainly by hand. And, as you know, works of ritual poetry are examples of not only poetic, but also musical creativity of the people. This gap in recording ritual poetry was filled to a certain extent during the complex folklore expedition of the IIFF SB AS USSR and IYALI YaF SB AS USSR in 1986 (hereinafter referred to as KFE), when the expedition participants recorded on tape samples of various spells, good wishes and round dance chants -dry.

A number of valuable tape recordings were made by E.E. Alekseev in the 1970s - 1980s. He was the first to collect materials about lamentations in dreams, spells for initiation into blacksmiths, samples of shamanic rituals, etc.

The culture of the northern Yakuts has its own characteristics, so the volume includes samples that reflect the main occupation of this group - reindeer herding. Partial information about local options is given in the comments to the volume.

The poetic works that accompany most traditional rituals are called algys by the Yakuts. The ambiguity of this word was noted by E.K. Pekarsky: algys - “1) blessing, good wishes...”. In essence, the word algys was used by the Yakuts to designate various types of works of ritual poetry - good wishes, blessings, prayers, incantations, spells and hymns.

As is known, Yakut rituals were divided into individual and collective. They had to be accompanied by certain poetic texts. Of course, not every Yakut performing the ritual individually was a poet. In the process of the long existence of ritual poetry, a set of traditional clichés developed that had to be pronounced when performing specific rituals.

During collective rituals, the performance of algyses was entrusted to the most respected or most gifted person, who had the gift of performing algyses. The Yakuts called such people algyschyt (literally “caster, well-wisher”). They knew the traditions of rituals well and skillfully performed Yakut songs in the die-buo style (see musicological article). The Yakut Algyschyts apparently created a huge number of poetic works. A small part of them is included in this publication.

When compiling the volume, we considered it necessary to start it with samples of spells in honor of the spirits who are the owners of the earth (terrain, homeland). According to the beliefs of the Yakuts, each territory had its own mistress. With a respectful attitude toward her, she patronized those living on “her” land or those who arrived in her “possession.” In connection with this, in the past the Yakuts made sacrifices to her. According to customs, a special sacrifice to the spirit-mistress of the earth was arranged once a year - in the spring, when the first grass grew, the leaves bloomed on the trees. As a gift, they hung tufts of horse hair, strips of cloth or salama on the sacred birch tree - a ritual rope woven from horse hair, decorated with tufts of mane hair or ribbons, and treated the hostess spirit with dairy products. During the ritual, a spell was pronounced or sung. It usually began with an appeal to the hostess spirit, then the benefits that were asked from her were listed: protection of livestock and children, care for increasing wealth and offspring (text No. 1). The size of the spell depended, as a rule, on the talent of the algyschyt. For example, he could color an appeal to the spirit mistress of the earth with figurative descriptions of her appearance, supplement the spell with a colorful list of dairy products offered to her, etc. (text no. 3).

The spring sacrifice to the mistress of the land belonged to the preventive rites of the Yakuts. The mistress of the earth was also contacted in cases where misfortune befell the family. Thus, the ritual of sacrifice to the spirit-mistress of the earth was organized during epidemics. An example of a spell cast in case of misfortune is text No. 4 in our volume. It begins with an appeal to the spirit mistress of the earth, then the caster speaks about his misfortune and asks for deliverance from it.

Thus, the content of the spells of the mistress of the earth varied depending on the reason for which the sacrifice was made to her.

Let us note that rites in honor of the spirit-mistress of the land were also performed by those temporarily located on its territory. They expressed their respect for her and begged her not to harm them.

Numerous works of ritual poetry were performed in rituals associated with hunting and fishing. This part can be divided into two groups of rituals performed: 1) to obtain good luck in fishing or to preserve it; 2) with prolonged failures in hunting and fishing.

According to the beliefs of the Yakuts, the result of a hunt often depended not on the skill and knowledge of the hunter, but on the will of the master spirit of the forest Baai Bayanay, the spirits subordinate to him, as well as the spirits that prevent the hunt. Therefore, before the start of the hunt, the Yakuts made sacrifices to them, treated them to food or vodka, and cast spells in which they turned to the spirits with a request to be supportive and grant them prey. Treats and requests were based on the fact that all spirits, having a fantastic or zoomorphic appearance, supposedly could understand human speech, eat food, i.e. resembled people in appearance and needs.

Sometimes, to make a sacrifice, an anthropomorphic image of the spirit-owner of the forest, an idol called hoiguo, was first made from a piece of wood. It was stuck into the ground and half of the hoiguo's face was smeared (“treated”) with fat or fresh blood from freshly hunted game. They promised to smear the other half if they were successful in the hunt. A certain deceit can be traced here: the spirit was, as it were, lured by the opportunity to receive a sacrifice again. It is with this custom that the phrase khaannaah hoiguo is associated - literally, “with blood”, “bloody hoiguo”.

Before going hunting, they performed fortune-telling by casting lots for luck with some object: a wooden cup, a tambourine beater, a deer hoof, etc. Fortune telling began with the casting of a spell (No. 10 - 12). If the prediction was successful, the hunters went to hunt in high spirits.

In conversations among themselves, the participants in the hunt used allegorical speech. Bear - “old man”, “forest animal”, elk - “long-legged”, etc. This specificity of the hunters’ speech was reflected in the published spells. In them, the names of animals are in most cases replaced by descriptive epithets. For example, the deer was called “branch-horned” - ergene muostaakh (No. 5); moose - “having convex knee joints” - tuora tobuktaakh; beasts of prey - “having sharp fangs” - ardai abyylaakh (No. 6), etc.

In case of prolonged failure in hunting, the Yakuts considered it obligatory to perform the Barylaakh tardar ritual “Summoning (or attracting) Barylaakh.” Here, the word Barylaakh “Owner of everything” or “Abundant” allegorically refers to the master spirit of the forest (for a detailed description of the rituals, see). IN general outline The ritual was carried out like this. A hunter or a specially invited shaman made a new anthropomorphic idol from a piece of wood about one meter in size. A treat was placed in front of the idol: a bowl of boiled meat, a cup of salamat, a bottle of vodka. Then the performer of the ritual pronounced or sang a spell. It was in many ways similar to the spell of the master spirit of the forest before the start of the hunt. Additionally, fragments were introduced in which the hunter asked the spirit owner of the forest what caused his dissatisfaction, asked him to relent and generously provide him with prey (No. 12).

The ritual for the loss of hunting success was carried out the same way among all local groups of Yakuts, only among the northern Yakuts the hoiguo was called Chychypkan.

Yakutia is rightfully considered a country of thousands of lakes. The lakes contain an abundance of crucian carp and loaches. The rivers are rich in a variety of fish. Almost all types of river fish are found there. Of these, the most valuable are nelma, broad white salmon, sturgeon, sterlet, muksun, omul, whitefish, lenok and tugunok (Sosvinskaya herring). Lake fishing was of great importance for Yakut farms. This was due to the fact that fishing was carried out in the summer using tops, set nets and ties. They were examined every day in between by one of the family members. The caught fish was immediately eaten. They caught fish with a seine in the fall and early winter. In early spring, crucian carp were caught on the lakes with a kuyuur, “a large hair net with a long handle.” In places where fish hibernate, they made a hole and through it they scooped out crucian carp, sleepy and inactive. The catch was quite rich. Fishing on large rivers was practically carried out by the rich Yakuts, who had seines. Those living near rivers set up stakes on rivers flowing into big rivers, caught fish with tops and nets. In the annual menu of the pre-revolutionary Yakuts, fish occupied a prominent place: by spring, meat supplies ran out, and spring ice fishing saved them from hunger strikes. From early spring until the autumn cold, the Yakuts rarely slaughtered livestock for meat; they preferred to eat fish and game (hunting migratory birds, catching ducklings that did not fly, autumn hunting for ducks, geese, upland game and hares). According to V.L. Seroshevsky, each Yakut family consumed from 320 to 480 kg of crucian carp and small lake and river fish per year. Thus, fishing played a significant role in the economy of the Yakuts.

Rituals associated with fishing are in many ways similar to hunting ones. According to the beliefs of the Yakuts, success in fishing depended on the will of the master spirits of lakes and rivers. Therefore, before fishing, the Yakuts made sacrifices to these spirits and turned to them with a spell, asking for a good catch. Thus, in text No. 17, the conjurer complains that the spirit mistress of the earth and his other patron spirits gave too little of “their abundance” this year, i.e. cattle products, and asks the mistress of the lake to give fish. In his address, he says that the mistress of the lake is the elder sister of the deities Ayyysyt and Ieyiehsit, i.e. she is more important than them. According to Yakut mythology, Ayyysyt and Ieyiekhsit belonged to the main deities of ayyy, the patrons of the clan and tribe. Although the fishermen each time turned to the master spirit of a certain body of water, analysis of the texts shows that they were in the process of forming ideas about the main patron spirit of fishing. In text No. 17 he is called Toyon Eriehiye Baai. The one who cast the spell called him the owner of the great river, waters, all alaas with lakes, taiga lakes, the patron saint of all fishermen: those who set the tops, and those who fish with ties and nets, and those who use boats for fishing. In text No. 25, the mistress of the river is recognized as the steward of the fish; she allegedly divides the fish among all her tributaries.

An analysis of published texts shows, firstly, that among the Yakuts there was a mixture of the functions of the master spirits of the ancestral or personal territory and the spirits of reservoirs. In some cases, the Yakuts asked for good luck in fishing from the spirit mistress of the area where the fishing was carried out. This was due to the fact that she was considered the owner of everyone who lives on her territory - animals, birds and fish (No. 19). Secondly, in the spells it is clearly visible that the herder is making the request. In text No. 24, the fisherman asks the spirit mistress of the river to become like the givers of cattle:

Boil white milk

Always exude oil and fat,

The mistress of my [river] is my grandmother! (st. 50 - 52).

In text No. 21, the fisherman treats the spirit-mistress of the water with the best livestock products: kumiss, butter, cream. Sometimes in spells it is emphasized that the mistress of the lake is the savior in difficult times for the cattle breeder - during years of drought, lack of food, during periods of famine (No. 17, 20, 21, 23). In the past, poor Yakuts often ran out of food supplies at the end of winter, and in early spring, before the appearance of greenery and the arrival of migratory birds, seasons of forced hunger began.

The mixing of the functions of the spirit masters of land and water can also explain the fact that in No. 24 the spirit mistress of the river is equated with the epic spirit mistress native land, living in the sacred family tree Aal Luuk May. As you know, she feeds some epic heroes with her breasts, gives them heroic strength by letting them suckle on your breast three times. In the analyzed text, the fisherman asks:

From your two breasts, like the elastic furs [made of skin] of rich neighbors, Let me suck the milk, Feed us with care! (st. 40 - 44).

In this case, as in the epic, the milk of the mistress of the river is presented as a magical remedy that gives strength or supports life.

The master spirits of reservoirs, according to the Yakuts, could, just like the spirit masters of forests, deprive fishermen of luck and leave them without a catch. This, as a rule, was explained by the “desecration” of fishing gear by a woman, the participation in fishing of a person who had recently attended a funeral, etc. . In such cases, the Yakuts staged a ritual of purifying fishing tools with fire. The first part of the spell consisted of turning to the spirit-owner of the fire for help (see more below), and the second coincided with the usual spell before starting fishing, only a fragment was added with a request to forgive the sin committed [Ibid., p. 61 - 63].

In general, the worship of the spirit masters of the earth, forests and water bodies was associated with the need to establish regulated relations between man and nature.

An important part was the rituals associated with traditional life and economy. These are, first of all, rituals performed during the establishment of the Yakut estate and hearth. According to the customs of the Yakuts, after building a new yurt, it was necessary to read a spell based on ideas about heavenly and earthly patron deities. It emphasized that the yurt was built at the behest of the head of the bright heavenly deities Aiy Toyon, who predestined the owner to have children, raise cattle and horses, and create a prosperous cattle breeding farm. Then they asked the light patron spirits to protect them from any misfortune. A significant part of the spell was dedicated to the spirit of the owner of the hearth. They begged him to protect those living in this house from evil spirits. In conclusion, they turned to the head of the light deities, Aiy Toyon, with the request: “Send your bright breath directly to my house.” This came from the belief that every Yakut is connected by an invisible thread with the Upper World, where the bright aiyy deities live. As long as this connection is intact, the person lives safely; if it is interrupted, the person will die. In other words, the owner asked Aiyy Toyon to take his home under protection (No. 27).

The ritual of sacrifice to the spirit-owner of the yurt was also performed when moving from the winter road to the summer road and back. The spell during these rituals practically coincided with the spell when moving into a new yurt. This ritual was part of the ceremonies carried out at places of long-term residence, such as winter and summer estates. This complex included rituals in honor of the spirits who owned the courtyard, the hitching post and the hearth. According to the beliefs of the Yakuts, the spirit-mistress of the yard ensures milk abundance, fertility and safety of livestock, so sacrifices were made to her on the day of arrival at the summer or winter roads, as well as in cases when the livestock fell ill. The sacrifice was accompanied by a spell in which the spirit-mistress of the court was asked for well-being for her livestock and its multiplication (No. 28).

The master spirit of the hitching post (serge) was considered a celestial being. This is apparently due to the fact that the patron spirit of horse breeding, Josegöy, lived in the sky. The master spirit of the hitching post was recognized as the protector of the entire yard, i.e. its functions coincided with the functions of the master spirit of the courtyard. In the spell of the master spirit, the hitching posts were asked to protect people and livestock from evil spirits (No. 29).

The most revered of the patron spirits of the clan and family was the master spirit of the hearth. Any fire, according to the beliefs of the Yakuts, had an owner spirit; more precisely, the properties of a living being, an independent entity, were attributed to fire. Fire was recognized as a mediator - an intermediary between people and spirits. Through the fire they treated the spirits, who were “saturated with the smell, smoke and steam of the burnt treat,” i.e. the victim turned into a substance accessible to spirits. Along with this, the Yakuts had faith in the spirit of the owner of the home, who was the protector of the family and clan from the machinations of evil spirits, from any misfortune. This multifunctionality of fire led to the fact that in many rituals they first turned to the spirit-owner of the hearth. For example, before the ritual began, the shaman made a sacrifice to the smoldering fire on the fireplace and asked to protect those present and help them. The ritual itself took place in semi-darkness. Perhaps this was partly due to the need to protect the shamanic spirits from fire, since, having become angry, they could harm the inhabitants of the yurt where the shamanic mystery was performed.

The spirit-owner of the hearth constantly guarded the home; in the past, the Yakuts treated him with the first spoon and the first piece of cooked food. At the same time, out loud or silently they asked him to eat and treat himself. In especially important cases, a spell was addressed to the host spirit. The volume and artistic merit of the spells depended on the talent of their performers. Here they often masterfully sang properties of fire, its power and greatness. For example, one of the published texts says that the fire sparks are free, scarlet and huge (the size of a horse’s head); its heat upward reaches the three-layered high white sky, penetrates deep into the habitat of the eight tribes of evil spirits, etc. Then the caster of the spell asked for protection from evil spirits and misfortunes for everyone, noting that the spirit owner of the fire protected the owners of this house in the past, and begged to protect the owners now, and in the future, their descendants (No. 32).

The cycle of spells and good wishes refers to wedding ceremonies. The main part of the traditional Yakut wedding was the rite of tyusya barar (lit., “to arrive to seal the marriage agreement”), which was arranged after the payment of part of the bride price - the bride price, seeing her off to the groom’s residence and the wedding feast in the house of his parents (for more details, see) .

The tyusya barar ceremony took place in the house of the bride's parents. The groom came to the holiday, accompanied by relatives. The groom's train was headed by his parents or a respectable senior relative who agreed to be the senior matchmaker. On the bride's side, the celebration was attended by her parents, close relatives and respected, most often wealthy, people from her father's family. The main part of this ritual is a bountiful feast for future relatives. The bride's father distributed part of the bride price to invited relatives, who were supposed to participate in collecting the dowry for the bride. Gifts were also given to the groom's guests of honor, who, as a rule, contributed a certain share of the bride price.

Note that all relatives took turns participating in the payment of dowry, i.e. this was part of tribal mutual assistance, stipulated by the customary law of the Yakuts. The most specific of the spells and good wishes performed during the tyusya barar ritual was the spell cast by the groom when treating the spirit of the owner of the fire in the bride’s house. In it, to the traditional fire spell, a request was added to the groom to take him under his protection.

After the feast, the bride and groom spent their first wedding night at the tyusya barar ritual. From that time on, the groom received the right to visit his future wife in her house until the full payment of the dowry (son-in-law). Only after this the groom came for the bride and took her away. This stage of the Yakut wedding was also accompanied by a feast and a number of rituals. At the feast, traditional pre-wedding wishes were said. The wishes of the bride's father said that he addresses the future spouses on behalf of himself and his patron spirits, wishes them to become the owners of a blessed home, caring parents of children who will continue the family, owners of numerous livestock, “breadwinners for the hungry and warmers for the cold.” In his spell, the father especially noted the need for harmony in the family and expressed the wish that evil forces would not touch the new family (No. 36). The bride's mother and other relatives also wished her happiness in the future. family life(No. 37, 38). In the morning, before leaving, the bride treated the spirit of the owner of the hearth, thanked him for his protection and said goodbye to him. A gratitude spell was performed by the bride when the wedding train left the ancestral territory. Upon entering the groom's lands, the bride treated the spirit-mistress of this land and cast a spell asking not to offend her, considering her a foreigner, and to accept her under her protection (No. 41). Sometimes this spell was cast by a member of the wedding train who had a poetic gift and was skilled in performing ritual songs.

The final part of the wedding ceremony began from the moment the wedding train entered the alaas, where the yurt of the groom's parents stood. In the distant past, rituals in the house of the bride’s parents and especially in the groom’s native alaas were a demonstration of the strength and wealth of clans united by family ties. This was most clearly evident in late XIX V. in the rituals performed upon the arrival of the wedding train at the groom’s residence. As soon as the wedding train appeared on the horizon, a rider rushed towards it from the groom's house. Having arrived, he turned around and rushed back. A man accompanying the bride, riding on the best horse, set off in pursuit of him. If the owners were ahead, then it was believed that they ensured the happiness of the future family, and if on the contrary, then it was the bride’s relatives.

The next competition was a fire-making competition. It was held at the entrance of the wedding train to the estate. The bride drove up to a special wedding hitching post placed to the east of the house. None of those who arrived got off their horses. Only one person from the bride’s entourage jumped off his horse, ran to the door of the house and began to strike fire with a flint. His rival on the groom's side climbed onto the yurt and began to strike a fire over the chimney of the fireplace. If a newcomer was the first to strike a fire, he threw it inside the house towards the fireplace, and if he was standing at the top, then into the chimney. The one who was ahead cast a spell in which he emphasized that it was his family that bestowed happiness on the newlyweds (No. 42). Only after this ceremony did the greeters take the reins of the bride’s horse and lower her from the saddle, and they also received the rest of the guests with honor. The bride was led into the house, here she was greeted with good wishes to become the mistress of an abundant house, to have many children, numerous livestock, etc. (No. 43).

A component of the wedding ritual was the ritual of the bride treating the spirit of the home in the house of the groom's parents, introducing her to the fire of his family. Having treated the host spirit, the bride conjured him to take her under his protection. Basically, this spell was a variation of the regular fire master spirit spell.

On the day of the bride's arrival, a feast was held at which many good wishes were said. Then various competitions and games were held, osuokhai were started, and olonkho “heroic tales” were sometimes performed.

As P.A. correctly noted. Sleptsov, the full range of wedding ceremonies was performed only by rich Yakuts. The less wealthy were limited to a festive dinner, but the performance of spells from the spirit of the owner of the fire and good wishes to the newlyweds was an obligatory component of any wedding. Yakut wedding rituals also had local characteristics. We found it possible to include in this volume, as an example of wedding poetry, a recording by V.M. and M.N. Ionov about the participation of the spirit of Bologur aiyyt as an honorary matchmaker (for a description of these rituals, see text No. 44). This material is also an example of the participation of black shamans in wedding rituals. In ordinary weddings they did not play a special role. White shamans did not always participate in weddings either, but only in cases where the newlyweds were their close blood relatives.

Concluding the review of poetry associated with the Yakut wedding, we note that in Soviet times the basics of this ritual were observed. A feast was also held, the spirit owner of the fire was often treated, and good wishes were said. In that we included only one text of good wishes for a modern wedding. His analysis shows that the main outline of traditional wedding wishes has been preserved: the newlyweds are wished happiness, many children and wealth, only at the end it is added that they need to become leaders in production and famous people in the republic (No. 45).

In the concept of life of the Yakuts, an important role was assigned to procreation and the birth of children in the family. Having many children and healthy, mentally normal children were considered one of the components of human happiness. The souls of children (cut-sur), according to the beliefs of the Yakuts, could be obtained from the light deities aiyy, as well as from a tree with a branch-like crown. The main giver of children's souls - the goddess Nelbey Aiyysyt - lived in the eastern part of the earth, outside the areas inhabited by the Yakuts. She could give or not give the woman children. This goddess and the accompanying spirits, the owners of herbs and trees, determined the fate of the newborn: his life span, whether he would be happy, healthy, etc. After the birth of a child, the goddess Ieyieh-sit, the personal patroness of man, became one of his main protectors. The image of this goddess was close to the image of the goddess Aiyysyt.

The spell cast at the birth of a child addressed both of them. The older woman or the one who delivered the baby asked the goddesses to be supportive and come and facilitate the birth. The spell for childbirth was usually of a sublime nature, close to epic traditions, with hyperbole and colorful descriptions widely used. For example, the plaque on Ayyysyt’s hat was compared in size to an ice hole, and the breath of the goddess Ieyiekhsit was likened to a warm wind. The description of the costume of the goddess Aiyysyt was as detailed as the description of the clothing of the main characters of the Olonkho epic (No. 46). Let us note that this spell also contains a very archaic characteristic of the goddess Ieyiehsit. Yakuts in the 19th - early 20th centuries. They considered her an anthropomorphic creature. At the same time, some myths say that she appeared to people in the guise of a white mare:

With a wavy tail

With a black stripe along the ridge,

With patterned spots on the shoulder blades...

(st.80 - 82).

The rest of the characterization of Ieyiekhsit refers to her anthropomorphic appearance (No. 46).

If the birth went well, the Yakuts on the third day after the birth organized a ceremony of seeing off Aiyysyt. (For a detailed description of the ritual and the content of the spells, see No. 48, 49.)

When childbirth was difficult and the woman in labor could not relieve herself of the burden, the Yakuts invited a shaman. He called on his spirits and performed rituals with sacrifices to the evil spirits of abaasy, who kidnapped the souls of children and interfered with childbirth. The spell said that the shaman catches these spirits and drives them back with the help of his helping spirits (see No. 47).

In the event of a long absence of children, the Yakuts performed a ritual of asking Aiyysyt for the soul of a child. It was performed by a white shaman (ayyy oyuuna) - a priest of the cult of the patron spirits of the family and clan (a brief description of one of the variants of this rite is prefaced in text No. 51; for more details about this rite, see). The spells described the grief of a childless married couple, ordered this couple to live in harmony, without quarrels, and predicted that in this case the goddess would give a child. At the end of the spell, the performer of the ritual asked that none of the evil spirits interfere with the fulfillment of his prayer (No. 51).

One of the Yakut rituals performed when raising children was the consecration of the cradle. At the same time, a spell was pronounced in which Aiyysyt was asked to protect the cradle and the child, it was indicated that the nest (cradle) was located on the sacred family tree, i.e. he is protected by the spirit-mistress of the ancestral territory. In addition, the ending of the spell emphasized the modesty of the hosts and the person casting the spell. It was noted that they rarely ask, and only on days designated for sacrifices (No. 50).

In family life, in addition to the generally obligatory ones, there were rituals associated with various everyday situations. Occasionally, rituals of bewitching a girl, woman or man were performed. For example, V.M. Ionov recorded the ritual of bewitching his departed wife. It is based on the archaic belief that trees are like people in everything - they talk to each other, get sick, die, visit each other, etc. One of the aspects of understanding the life of trees was the idea that trees growing together, as if embracing, have a magical gift of uniting separated spouses, restoring the integrity of the broken and destroyed. In the ritual, the abandoned husband makes a sacrifice to two trees growing together, entwined around each other from the very root to the top. In the spell, the man colorfully described his suffering. In particular, he said that he came:

Suffering from aching bones,

Due to the unevenness of the boards on the bed...

(No. 52, art. 28 - 29).

At the end of the spell, he asked for a magical remedy that softens the hearts of women and men, taming the bad habits of cattle (verses 62 - 72). The analyzed entry states that the trees heeded the request of the abandoned husband, gave him a love spell and he managed to return his wife (No. 52).

All ethnic groups included funeral and memorial rituals in family and everyday rituals. Among the Yakuts, death, according to traditional beliefs, was a relocation to another world, in essence, a change in the form of human existence. At funerals and wakes in the 19th - early 20th centuries. special ritual works were not performed (for funeral and memorial rites, see). Longing for the dead was expressed in individual laments. The features of this genre in Yakut folklore have not been sufficiently studied. Apparently, there were three types of laments: kep tuonuu “mourning over an unhappy lot”, sulanyi “lamentation about fate”, mun-atyyy “crying over one’s suffering”. These cries were essentially a form of individual psychological release and at the same time performed a symbolic function that corresponded to the ethical standards of the Yakuts and were an expression of bitterness from the loss of a loved one. According to Yakut beliefs, the deceased becomes a spirit and comes to the living if he is not accepted in the other world. In such cases, a shaman was invited, who conducted a special ritual with the aim of catching him and sending him to the world of the dead.

An important part of the system of Yakut rituals were rituals associated with their main occupation - breeding horses and cattle. The Yakuts, faithful descendants of their nomadic ancestors, loved horses more. According to Yakut beliefs, successful horse breeding depended on the favor of the deity Dzhosegoy. The Yakuts made the first sacrifice to him in early spring, at the birth of the first foal. In the prayer they said that they were treating them to the best kumis and asked to increase the number of horses belonging to the owner (No. 53).

A family ritual associated with cattle breeding also included a sacrifice to the mistress spirit of the area where they moved for the summer. She was treated to kumys and asked to give prosperity in this place, to ensure the offspring and safety of all livestock (No. 56).

The growth of a herd of cattle, according to the beliefs of the Yakuts, depended not only on the bright gods of the aiyy, but also on the poroz belonging to the given family. Based on this, at the beginning of summer, a ritual of spraying the sire with suorat, a “Yakut fermented milk product,” was carried out with a request to increase the offspring of livestock (No. 57). According to the beliefs of the Yakuts, a herd stallion and a stud bull, when slaughtered, could take the souls of horses or cattle with them to the other world. Therefore, before slaughtering these producers, the Yakuts performed a special ritual. They were slaughtered in the same way as sacrificial animals - their aorta was torn. At the same time, they cast a spell in which they asked not to take the cattle with them, but, on the contrary, to grant a large offspring in the future. At the end of the spell they traditionally said that they were forced to score because of the onset of a hungry year (text No. 60,).

Yakut family labor rituals included rituals performed during the preparation of hay for the winter. Before the start of haymaking, having arrived at the mowing site, they lit a fire and through the fire they made a sacrifice to the spirit-mistress of the area in the form of milk food (they threw butter or sprinkled kumiss on the fire), conjuring to give a share of herbs to feed the livestock (No. 61).

At the beginning of mowing, the eldest of the mowers performed the ritual of “watering” the scythe. The scythe, according to Yakut beliefs, like any object, was considered alive. She was endowed with the ability to take offense, to deliberately inflict wounds, to mow down better or worse, and also to eat and drink. Therefore, when starting mowing, they treated the scythe to a drink made from sour milk. The person entrusted with this ritual mowed the grass three times, then took a bunch of freshly cut grass, dipped it in the drink and lubricated the scythe. After this, the entire drink from the cup was sprinkled around in three doses onto the growing grass and a spell was cast asking for rich grass, sunny weather and successful haymaking. In the final part of the algys, they turned to the braid, begging it not to break or deteriorate (No. 63).

At the end of haymaking, a spell was cast - the Blessing of the Big Pitchfork. It noted that the haymaking was completed successfully, and asked for the same prosperity in the future, during the lives of nine generations of descendants (No. 64).

Part of the Yakuts in the process of developing the basins of the Olenek and Anabar rivers in the 17th - 19th centuries. began to engage in reindeer husbandry, combining it with hunting and fishing. The ritual poetry of this group of Yakuts has been poorly studied. The volume includes three spells related to reindeer husbandry (No. 65 - 67), performed by a shaman. Perhaps these are samples of spells during rituals performed by a shaman in extreme cases or for preventive purposes. Thus, the first spell refers to the beginning of calving of deer (No. 65), the second and third are performed during epidemics (No. 66, 67).

Returning to the characteristics of the rituals and works of ritual poetry of the main part of the Yakuts, it should be noted that in the autumn-winter period there were no significant events related to cattle breeding. In case of illness of livestock, the usual rite of purification by fire was carried out, a sacrifice was made to the spirit-owner of the barn, or a shaman was invited to perform a ritual.

Along with family rituals, general, tribal, intertribal, community and national holidays and rituals were of great importance in the life of the Yakuts. The main one is Ysyakh, which consists of sacrifices to deities and spirits, singing or reciting a hymn in their honor, a feast, osuokhai circular dances, martial competitions, sports competitions and various games (for details, see).

A study of materials about Ysyakh shows that it originally arose as a clan and interclan holiday in the 19th century. it already had a communal and intercommunal character and began to be perceived as all-Yakut. During the period of collectivization, the holiday was prohibited. The reason for this was that the Yakuts, like other peoples who organize horse races, loved to bet during competitions. In addition, during Ysyakh there were games of cards. In the last year of the Great Patriotic War the ban was lifted. Victory Ysyakhs began to be held in cities and villages. Since then, Ysyakh has become a common holiday of summer and friendship for all residents of Yakutia.

According to Yakut mythology, the founder of Ysyakh was considered to be the ancestor Elley. The first hymn in honor of the spirits was sung, according to myths, by Elley's son Labynkha Syuyuryuk, who became the first priest (ayyy oyuuna) of the cult of the patron spirits of the clan and tribe. Apparently before mid-19th V. hymns at Ysyakh were recited by white shamans (No. 69). Later, this function began to be performed by respected old people, experts in folk traditions or skilled singers - masters of performing Yakut songs.

The opening ceremony of Ysyakh was carried out as a theatrical performance. The main character was the performer of the hymn in honor of deities and spirits. He was echoed by eight innocent girls and nine innocent boys. In the hymn, the performers addressed a prayer of thanks to the deities and spirits. At the beginning of the white shaman’s spell, it was emphasized that all life on earth was created by the will of the head of the deities ayyy Yuryung Ayyy Toyon, his power was noted and the idea was expressed that Ysyakh was organized as a gift for his favors. After this, the caster listed all the deities and spirits, treated them and asked for their protection, begged them to give happiness, wealth and good luck, and to protect them from the machinations of evil spirits (No. 69).

This structure, apparently, was originally inherent in the hymn pronounced at the opening of Ysyakh. At the end of the XIX - XX centuries. the performers of this hymn did not strictly adhere to the hierarchy of light deities. They could start by turning to Dzhosegoy, the patron of horse cattle, or to Aiyysyt, on whose will the birth and life of children depended (No. 70, 72). In some cases, the exorcist described the wealth and splendor of the organized Ysyakh: an abundance of food, a large number of festive dishes, etc. Then the caster said that he was treating the light spirits the best views dairy food and asked for their protection (No. 70).

After the singing of the hymn in honor of the bright patron deities and local spirits, a festive feast began, consisting of kumis, boiled meat and other dishes. In the old days, while drinking kumys, people sometimes listened to songs praising Ysyakh. The songs were performed by the best singers. They sang about the beauty of their native land, about how abundant Ysyakh is and that it was designed to ensure happiness for people and their future descendants (No. 75).

At the end of the festive feast on Ysyakh, circular Osuokhai dances, horse racing, sports competitions and games began. Let us note that the osuokhai circular dance was performed not only at Ysyakh, it was an integral part of any Yakut holiday. It probably originally had a sacred character. In the past, in the chorus of Osuokhaya, as in the hymn at the opening of Ysyakh, they glorified the bright deities-aiyy, asked them to be favorable to people, and emphasized that these gods give happiness and prosperity to the Yakuts (No. 76).

Perhaps the chanting of light deities was the theme of the first Osuokhai dance, which opened many hours of mass fun. At Ysyakh, one round dance was replaced by another. As soon as the singer finished his round dance, the next singer began a new one. There were cases when several round dances started at the same time. The duration of the dance depended on the talent and desire of the lead singer. Experienced singers could dance in a circle for several hours. The most traditional at Ysyakh, in addition to the chanting of the aiyy deities, were chants praising the onset of summer, glorifying famous horses and describing the beauty of the native land. Any topic was revealed by the singers in their own way, each creating an independent poetic work (No. 77 - 86).

In that we were not able to include the full texts of the Osuokhai choruses. The main reason is limited volume. Therefore, we have placed only samples of the ancient opening osuokhay (No. 76), the beginning of the chorus, performed by the famous storyteller, folk singer S.A. Zverev (No. 78), and transcripts of osuokhay chants recorded during a complex expedition to Yakutia in 1986. Then the best osuokhay singers from the group of Vilyui regions were given the task of briefly performing the chants, preserving their structure: beginning, main chorus and finale ( No. 82 - 86). These texts give an idea of ​​the specificity of the osuokhai chant as special genre folklore In addition, the Osuokhai chants have their own local characteristics.

The Osuokhai dance had several variations. One of its varieties was the Nayakha dance. In terms of choreography, this dance is close to one of the variants of the Buryat round dance - yokhor (for more details, see the article on ritual dances in this volume). In the chorus of the Nayakha dance, the non-Yakut word galin is repeated twice, apparently derived from the Buryat gal “fire”. The etymology of another word, tanki, incomprehensible to the Yakuts, is possibly related to the Buryat onomatopoeic word tan, expressing ringing (No. 79).

The traditional osuokhai consisted of three parts: the beginning, the main slow round dance and the energetic, fast round dance ketuu (lit., “flight”). The beginning of the osuokhai was performed in the style of a drawn-out toyuk. At first, the phrase was sung by the singer, then it was picked up by the repeaters - two or more dance participants walking to the right and left of him. The success of the dance depended to a certain extent on the experience of those repeating. The main and final parts of the round dance were performed in the form of a seven-syllable.

The lead singer was obliged to strictly follow this time signature. If there were five or six syllables in a line of text for the chorus, then repetitions of a syllable of one of the words were added, or interjections were inserted between words. If there were more than seven syllables in a line, then the extra ones were pronounced at an accelerated pace, and two syllables sounded like one. The opening in the toyuk style ensured the solemn, stately mood of the osuokhai performers, and the main rhythmic chorus of the round dance contributed to the unification of the dancers, creating a common aura of joy and fun, giving a charge of optimism, strengthening the unity of the participants of the holiday and having a beneficial effect on their psyche. It is no coincidence that the traditional refrain Esieheydiir esie-hei, osuohaydyyr osuohay is used in the chorus. It finds an echo in the soul of the Yakuts and motivates them to participate in the round dance. Along with this, this refrain was used by singers as a marker of the beginning and end of a separate theme in the chorus and the transition to a new theme.

The Ysyakh holiday lasted from one to several days. The epic often talks about Ysyakh, which was held for nine days.

Researchers have long noted that “algys, more than any other genre, is characterized by stability and conservatism of the artistic form.” This primarily affects the composition, structure of ritual songs and their functional purpose. Often, first, the names of those ichchi Spirits to whom the caster of the spell or algys is addressed are given. If this is a hunter, then he lists Bayanai, Ergene Bergen, Baai Baryylaakha, etc., while the fisherman turns to the owners of lakes and rivers - Suule Baayu, Ebirien Baai Khotun, Uokaa Jaralyku, Kunyuleer Toyon, Dalgyra Khatyn, etc. Depending on the dialect and ulus ethnographic characteristics, the addressees change, although there are some that are common.

The algyschyt singer, to the best of his abilities and talent, gives each spirit different epithets praising their power. It is generally accepted that the more colorfully the owner of a particular type of hunting is described, the more generously he gives good luck. After this, the essence of the request is stated, in which the names of the animals are given descriptively, since there is a ban on this. Sometimes an element of the andagar “oath of self-curse” is introduced into a separate algys: “if I violate certain conditions, let me feel bad.” A certain order also exists in the Ysyakh hymns. However, this does not prevent performers from expressing their talent as an improviser by varying the structure of ritual songs. But the Algys language and its visual means remain common to Yakut folklore, and many cliche definitions used in folk songs and especially in epics are often found in the performance of rituals.

For example, in the spell of the spirit-owner of the forest, as in the epic, it says:

Walking on toes

Girding himself in the middle,

Taking advantage of the fire,

With a head turning [in different directions]

Dark-skinned uraanghai,

Yakut-man...

(No. 8, art. 5 - 10, as well as olonkho “The Obstinate Kulun Kullustuur”; “Kyys Dabilie”).

In the next spell, the hunter asks:

Hide in your narrow [place],

Hide it in your wide [place]!

(No. 9, art. 26 - 27, as well as olonkho “The Obstinate Kulun Kullustuur”,).

A variation of this cliché:

Hidden in my armpits by you,

In my groin covered with you

(No. 17, art. 47 - 48).

The fishermen's spell contains the following formulas:

I, who have joints, bow to you,

Having a neck with vertebrae, bowing before you

(No. 17, art. 5 - 6).

He who has a neck - I bow,

Having vertebrae - bending

(No. 23, art. 13-14; see also olonkho “The Obstinate Kulun Kullustuur”; “Kyys Dabilie”,).

Stable formulas used in olonkho were also used in wedding spells.

Eight-rimmed-eight-rimmed

My primordial mother earth is the master spirit

(No. 19, art. 1 - 2, No. 50, art. 16 - 17, No. 69, art. 19 - 20; see also olonkho “The Obstinate Kulun Kullustuur”; “Kyys Dabiliye”; “Mighty Er Sogotokh”).

So that on the eight-rim, eight-edge,

With discord, strife,

Decorated with humming greenery

To the original mother earth...

(No. 43, art. 84 - 87).

Another formula present in the epic:

Like the ribbed throat of a white horse,

Along the laid out

Illustrious

A wonderful road with...

(No. 37, art. 57 - 60; see also olonkho “The Obstinate Kulun Kullustuur”; “Kyys Dabiliye”, “Mighty Er Sogotokh”).

In the hymns dedicated to Ysyakh and in the chants of Osuokhay, there are also clichés characteristic of the language of the epic:

Look there and smile,

When you look here, smile.

(No. 13, art. 20 - 21).

A variation of this cliché:

She turned in that direction and laughed merrily,

I looked in this direction and smiled touchingly...

(No. 71, art. 8 - 9).

On the horse's strong back,

Like a black grouse bird,

He took off and sat down.

(No. 78, art. 40 - 42; see also olonkho “The Obstinate Kulun Kullustuur”; “Kyys Dabiliye”; “Mighty Er Sogotokh”).

The coincidence of stable formulas in the epic and works of ritual poetry was apparently explained by two reasons. Firstly, the mutual influence of the poetic system of genres: storytellers often used osuokhai singers, and osuokhai singers, undoubtedly, were present at the performance of olonkho and replenished their poetic arsenal from the epic. Secondly, the commonality of the poetic fund: the creators of the epic were based on the achievements of other genres of folklore - they creatively interpreted mythology, intertwined formulas of spells and good wishes, included proverbs and sayings in the texts, i.e. used a well-established, polished set of poetic expressions in their work.

Along with stable formulas that coincide with epic ones, works of ritual poetry contain clichés characteristic of this genre. An example of such formulas should first of all be recognized as a detailed definition of the spirit-master of fire:

Piebald shin,

spotted side,

The chest is a sieve,

Neck - skebel,

Gray beard,

Terrible, famous,

With gray hair

Scorching my lord,

My lord is grandfather,

The master spirit of my sacred fire!

(No. 30, art. 13 - 22).

The litter is ash,

The blanket is ashes,

Gray beard,

Gray head

Silver face,

Mr. Nokhsol Toyon is my grandfather...

(No. 33, art. 2 - 7).

The poetic description of the spirit owner of the lake is close in essence and structure to the characteristics of the spirit owner of the hearth:

The master spirit of my lake

The shore is half [yours],

Swamp - litter,

Slime is a blanket,

Swamp - courtyard,

Small crucian carp is the basis of [your] life, -

Green Bolloch

Toyon-grandfather!

(No. 2, art. 157 - 163).

With a house - a quagmire,

With a window - a crack,

With a bedding - swamp,

With a duckweed blanket

The master spirit of water...

(No. 18, art. 5 - 9).

The descriptions of these two spirits, unlike other parts of the spell, performed in chanted recitative, were read in patter, i.e. They also had a common style of pronunciation.

A number of stable formulas in works of ritual poetry were associated with a plea for the mercy of deities, for protection from troubles and misfortunes. Thus, the offering of a sacrifice was sometimes accompanied by a request that became traditional in form and essence:

Consider what is insufficient as sufficient,

Consider what is incomplete to be complete.

(No. 53, art. 31 - 32).

The fisherman's spell says:

With evil eyes

Maybe he looked

With sinful hands

Maybe he held it

Evil-tongued,

Maybe he cursed

With fiery eyes,

Maybe he jinxed it...

(No. 22, art. 1 - 8).

Variants of this cliché are found in the spells of the goddess Aiyysyt:

Let the evil-tongued one be scolding

He won't be able to curse

Let the slippery eyes

He won’t look at it point blank!

(No. 48, art. 18 - 21).

Fire-Eyed

Let him not look at it point blank,

Flat Eared

Let him not hear!

Grumpy-angry-tongued

Let them not be able to curse!

(No. 51, art. 49 - 54).

Among the stable formulas of wedding wishes, for example, was the cliché:

Welcoming the equestrian

Leaving the pedestrian for the night,

Feeding the hungry

Warming the chilled...

(No. 37, art. 47 - 50, 55).

Variants of this cliche:

Feeding the hungry

Warming the frozen

Helping Shirou...

(No. 36, art. 57 - 59, 63).

Support an orphan

Give food to the horseman,

Give me an overnight stay for those on foot!

(No. 43, art. 81-83).

A similar formula is found in the spells of the goddess Aiyysyt during her farewell after the birth of a child; the caster wishes the child to become a support for everyone:

Let it become a staff for those on foot,

Let him become a whip for the horseman,

Let the hungry one feed from him,

Let the emaciated one be satisfied...

(No. 49, art. 10 - 13).

In the hymns pronounced at the opening of Ysyakh, the epithets of the bright deities aiyy are repeated:

With warm breath,

With blush on your cheeks,

With a blessed speech

Our mother Ieiekhsit...

(No. 71, art. 2 - 5).

These epithets are common in materials about the cult of the patron deities of the Yakuts (for more details, see).

There are many common clichés in the ritual texts of Ysyakh and in the chants of Osuokhay. Thus, they often emphasize that Ysyakh and Osuokhai were first established by the legendary ancestors of the Yakuts Elley and Omogoy (No. 75, art. 9 - 11; No. 82, art. 53 - 54).

Starting the osuokhai, the singer traditionally addresses the participants like this:

For five fingers

Like by the loops, taking hold,

Let's drive osuohai

For ten fingers

Mixed together,

Let's drive around...

(No. 85, art. 25 - 30).

Variations of this formula appear in the following texts included in the volume:

For five spread

Holding your fingers,

Like a loop to a loop, strung together...

(No. 78, art. 74 - 76).

For ten fingers

Intertwining them, holding...

(No. 81, st. 3 - 4).

In ritual poetry, the technique of hyperbolization is widely used. The master spirit spell says:

The master spirit of my sacred sixth

With eight belts,

The master spirit of my venerable sixth

With nine belts,

The master spirit of my venerable wide fireplace

With seven belts...

(No. 31, art. 5 - 10).

The Yakuts tied the entire frame of the fireplace from poles coated with clay with a girdle in three places.

Hyperbole like artistic technique There are also spells during the consecration of a child’s cradle:

On the nine-rim, nine-rim

To my homeland

On its southern side, proudly growing

The mighty oak, in the middle of it located

With nine hoops

My main cradle made of oak

Don't let it collapse!

(No. 50, art. 24 - 30).

In the festive hymn sung at Ysyakh, when describing the deity Dzhosegoy, it is said that he owns a “midge of yellow foals”, “a gadfly of mouse-gray foals”, “a mosquito of red foals”, etc. (No. 70, art. 88, 89, 91).

An analysis of works of ritual poetry shows that algys are intonationally different from other everyday songs; they are mainly dominated by a high style, since in this case the conversation-conversation is conducted with powerful spirits-masters. Therefore, often even passages containing certain requests are performed loudly and solemnly, especially when spectators are present.

The rhythmic structure of ritual songs is unique. Apparently, this is due to the fact that this genre developed in antiquity and was performed by recitative and singing, therefore in most cases the basis of rhythmization is “rhythmic-syntactic parallelism with a relatively free count of syllables.” The “Blessing when moving to the summer house” (Sayylykka takhsarga algys) says:

Unaar sayin of a sultry summer

Vigutun somustaratgyn,

Let us scoop up plenty of abundance,

Kueh sayin

Green summer

Kundu beeleedin ketehterentgun,

Give us a precious gift into our hands,

Utuye sayin

Have a wonderful summer

Utuye urdunen en ur Aentgin

Let us get enough of the best cream...

(No. 56, art. 20 - 25).

In this example, the number of syllables in the lines is 4 - 9 - 3 - 11 - 5 - 9, which indicates the unconditional unequal syllables of the latter. But if we take the total number of words in rhythmic-syntactic parallels (there are three of them), then we get quite comparable values: 13 - 14 - 14, i.e. approximate equivalence. This phenomenon goes back to the ancient Turkic written monuments of the 5th - 7th centuries. and by some poets it is defined as emotional repetition. But unlike other Sakha songs, in ritual poetry the principle of alliteration (consonance of the initial sounds of lines) is not strictly observed and usually extends to 2-3 adjacent verses at most. In the algys “Blessing of the fishing fence” (Elie algyba) we read:

Asexperiences abattar,

Feed the hungry

Syrdany sylaattar,

Quiet the hungry one

Thordonu toroluttar!

Fatten the emaciated!

Chugas kere satyyr gyna,

So that you can see it up close,

Yraah iste satyyr gyna,

So that it can be heard from a distance,

Dari dehei detirgitien kulu!

Always give us gifts evenly!

(No. 20, art. 24 - 29).

As we can see, the singer ignores the initial consonances, but especially emphasizes the endings of the lines with grammatical rhymes and repetitions common in Yakut folklore. Here, as in all ritual poetry, the main rhythm of the work is created by syntagmic phrases and tirade combinations. During performance, another factor comes into play, and "usually intonation periods are regulated by the volume of breathing."

Among the genres of ritual poetry, the rhythm of Ysyakh songs has undergone a significant change. This is also reflected in the examples in this volume. In "Song ancient dance"(Bylyrgy ukkuu yryata, No. 76) there is no clear rhythm, and its execution, in all likelihood, was accompanied by movements and dance that differed from the modern osuokhay. Modern lead singers use this drawn-out motif only as the beginning of the osuokhai, almost immediately switching to a seven-syllable meter.

The seven-syllable line is strictly maintained throughout the osuokhai dance, appearing in different options: 3 - 4, 3 - 4, 2 - 2 - 3, 3 - 2 - 2. In some cases, lead singers use fewer syllables, but then they stretch one syllable, making it seem like two, and pronounce more syllables in a faster manner pace, maintaining the basic rhythm.

In general, the language of ritual songs is more archaic, especially in the algys of hunters, fishermen, and in the algys of the spirit of fire and forest. In them, a figurative system of comparisons and epithets is created on the basis of the names of everyday objects that have been used since ancient times. Over time, the language of ritual poetry did not remain unchanged. It, just like the modern Yakut language, contains borrowings from the Russian language and culture. In spells, for example, the word bokuluon is found - from the Russian “bow” (No. 23, art. 12), luoska - from “spoon” (No. 36, art. 16), alleyyttan - from “alley” (No. 61, art. 16). 4) etc. Some texts also reflect borrowings from Christianity. So, in the spell of the goddess Ayyysyt it is said: “When I became young, instead of Nikola, you were to me” (No. 46, art. 10 - 11). The Wonderworker Nicholas was one of the most revered saints among the Yakuts who converted to Orthodoxy. In number 48 there is a wish:

May Nikola the God protect [you]

Let Christ the God care [for you].

(vv. 30 - 31; see also olonkho “The Obstinate Kulun Kullustuur”; “Kyys Dabiliye”; “Mighty Er Sogotokh”).

It is curious that in the hymn at the opening of Ysyakh there is a statement that the master spirit of the fire “For thirty years you lay motionless” (No. 69, art. 204 - 205). This is associated with the fate of the hero of Russian epics, Ilya Muromets, who could not walk until he was thirty.

An in-depth scientific analysis of the works of ritual poetry of the Yakuts is the task of future researchers. We are forced to limit ourselves to only a brief general description of traditional Yakut rituals and the associated layer of oral folk art in order for the reader to more easily comprehend the specifics of the unique examples of spiritual heritage included in this book.

ON THE. Alekseev, E.N. Kuzmina, N.N. Toburokov

YAKUT FOLKLORE. The largest genre Ya. f. is heroic. epic - olonkho (a separate legend is also designated). Basic its content is heroic. exploits of heroes for the benefit of the Ayyy Aimaga and Uraanghai Sakha tribes, which is why the legends are called by the name of Ch. hero (“Er Sogotokh”, “Nyurgun Bootur”, “Kyys Dabiliye”). Olonkho is genetically close to the legends of the Turko-Mong. peoples of Siberia. The epic is being performed by the people. storytellers - olonkhosuts. The characters' speeches are sung, the rest of the text is spoken in recitative, usually without instruments. accompaniment. In myths, legends and traditions the main interpretations are made. milestones of the ancient history of the Yakuts. ethnicity. They show elements of a person’s early understanding of the environment. world, reflected ethical. norms of behavior and everyday rules. Special legends are widespread. Speakers are Yakut. In folklore, traditions, legends and myths are called “kepseen (sehen)” - “stories (legends)”. Fairy tales are divided into 3 groups: about animals, magic. and household. The first explain the way of life of birds and animals, their coloring and behavior. In magic. In fairy tales, weak people emerge victorious in a conflict with monsters (Magys or others). Plots and images of everyday life. fairy tales are based on real everyday experiences. the lives of the people, morals are revealed in them. and societies. people's ideals. The song (yrya) has several. varieties: olonkho yryata - epic singing, khabarga yryata - a special way throat singing with a closed mouth, dyeretii yrya - a drawn-out song, degeren yrya - a “frequent” song, sung in recitative without flourish, with a clear rhythm; chyychaah yryata - “birds singing.” Special songs. genre – toyuk (lingering song). In music. In Yakut folklore it occupies the center. place, representing its own identity. national feature of the Yakuts. singing. Toyuk is used for everyday life, celebrations, and love. songs, speeches Olonkho characters. Peculiar. view of the Yakuts. people. poetry is chabyrgah (tongue twister). The essence of the performance is to recite the entire piece rhythmically and expressively without taking a breath. The Yakuts have many proverbs and sayings, genetically common with the sayings of the Turko-Mong. peoples Poetic works accompanying most of the traditions. rituals, the Yakuts call “algys”. In essence, with this word they mean difference. works of ritual poetry - well wishes, blessings, prayers, incantations, spells and hymns. A special type is osuokhai - round dance. a dance that arose in the bosom of traditional rites. Yakut. the holiday of Ysyakh, where ch. The moment was the worship of aiyy deities.

Ya f. studied by folklorists and ethnographers G.U. Ergis, A.A. Popov, G.V. Ksenofontov, I.V. Pukhov, G.M. Vasiliev, N.V. Emelyanov, P.E. Efremov S.P. Oyunskaya, V.V. Illarionov, N.A. Alekseev, Yu.N. Dyakonova, S.D. Mukhopleva, A.S. Larionova, musicologists N.N. Nikolaeva, Yu.I. Sheikin, V.A. Nogovitsyn and others.

Lit.: Ergis G.U. Essays on Yakut folklore. M., 1974; Kyys Dabiliye. Yakut heroic epic. Novosibirsk, 1993; Legends, legends and myths of the Sakha (Yakuts). Novosibirsk, 1995; Mighty Er Sogotokh: Yakut heroic epic. Novosibirsk, 1996. T. 10; Encyclopedia Yakutia. M., 2000. T. 1; Ritual poetry Sakha (Yakuts). Novosibirsk, 2003.

T.V. Illarionova

“Gogoleva Marina Trofimovna YAKUT FOLKLORE: EDUCATIONAL POTENTIAL Monograph Krasnodar UDC 372.882 BBK 74 G 585...”

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The nature of the existence of Yakut folklore in the pre-revolutionary era contributed to the widespread dissemination of genres in the traditions of oral verbal creativity. Constancy was observed in the functioning of only some genres of folklore: some genres could be considered an everyday occurrence in everyday life, others were performed only if there were appropriate conditions and as needed. The first include small genres of folklore: riddles, proverbs, sayings, fairy tales, partly folk singing, chabyrgahi tongue twisters. Their performance did not require special skills; the existence of these genres was dictated by the everyday need for education and entertainment with the family. The evening was considered a favorite time, when one could take a break from the monotony of everyday worries and communicate with children, teach them the wisdom of life. The process of raising a child in a family is involuntary; the child masters the cultural values ​​of his people without coercion, and when familiarity with folk wisdom is given great importance in the family, he grows up in an environment artistic perception peace. The periods and methods of using folklore in educating the younger generation are outlined in general terms, as they are dictated by the urgent needs of the ethnic group interested in the continuation of cultural and historical traditions, as well as age characteristics children.

The principle of nature-conformity of upbringing suggests a productive idea - those genres of folklore that can be adapted to the child’s level of development of thinking and speech are more appropriate for the initial stage of children’s development. Children's rhymes, humorous poems, children's songs, fairy tales, riddles, proverbs, sayings are traditionally considered small genres of folklore, they are easy to remember, easy to use in raising young children, they are indispensable in the development of thinking, memory, speech skills, the creation of a special psycho- emotional sphere in the personal development of a child.

In another conventionally designated group, folklore genres are aimed at a more mature age, when a person, based on the development of ideological and artistic values ​​of oral folk art, consciously approaches the problem of moral and ethical choice, the development of his abilities, and the formation of ideological attitudes. The genres of the first group require close attention to the psychological aspect of children's development, and the second - to general pedagogical problems. This explains the fact that we consider the above-mentioned genres of the first group separately, where the main attention is paid to understanding the psychological and pedagogical problems of the process of familiarization with folklore genres. And the syncretic genres of folklore: ritual songs, lyric epic works-toyuki, heroic epic olonkho, mythological stories, historical traditions, legends - having a rich arsenal of means of influencing the formation of various personality traits of children, are presented from the point of view of their general pedagogical value. We also included proverbs and sayings related to small genres in this group due to their concentrated “generalization of the life experience of the people in the form of complete, complete judgments, conclusions, teachings.”

We made a conditional division in order to avoid repetition in pedagogical characteristics genres, reflecting the entire process of human personality formation in aspects:

development of speech and thinking - nursery rhymes, riddles, chabyrakh (tongue twisters);

formation of morality - fairy tales, mythological stories, olonkho, proverbs, sayings;

aesthetic education - children's songs, poems, osuokhai dance, olonkho;

formation of a worldview - historical legends, myths, olonkho, ritual folklore.

Proverbs, sayings as pedagogical sayings Any genre of folklore has an educational function, this statement especially applies to such common types as chabyrgakh, proverbs, sayings, fairy tales. The proverb, the smallest genre of folklore, is distinguished by its pronounced pedagogical content. In modern literary criticism, a proverb is defined as “a short, rhythmically organized, stable in speech, figurative folk saying.” As G.U. correctly noted. Ergis: “Not every judgment becomes a proverb. A proverb is a traditional judgment (teaching, conclusion, etc.) that has become part of the everyday speech of an entire group of people, nationalities, and nations. Traditionality requires easy memorability, which is achieved by a refined artistic form and visual means. Therefore, many Yakut proverbs, like the sayings of other peoples, represent short poems". The subject of the statement is considered in the light of generally accepted truth, and an aphoristically condensed sentence is created according to the principle of analogy. Proverbs as laconic sayings, representing moral teachings in artistic form, could not help but attract the attention of teachers. So, G.N. Volkov, when defining a proverb as a pedagogical tool, points to an important point - the temporal correlation with the present day: “Proverbs are not antiquity, not the past, but the living voice of the people: the people retain in their memory only what they need today and will need tomorrow. When a proverb talks about the past, it is assessed from the point of view of the present and the future - it is condemned or approved depending on the extent to which the past, reflected in the aphorism, corresponds to people's ideals, expectations and aspirations." Famous scientists have studied the pedagogical value of proverbs and revealed the main ideas expressed in folk sayings. The author’s conclusion about the need to comment on proverbs is important for us: “Commenting on proverbs in judgments, in conversation, in disputes has always been widespread among the people. Such commentary in many cases transfers into the category of pedagogical those proverbs that at first glance are not so.” In school practice, commenting on proverbs is not always important, considering the meaning they contain to be generally known. As you know, of all the genres of folklore, the proverb is the most commonly used in people’s everyday speech, therefore, it has the greatest impact on the consciousness of the younger generation.

Pedagogical potential of aphoristic means and forms of education among peoples North Caucasus, studied by Z.B. Tsallagova, gives an idea of ​​the similarity in the development of forms of artistic expression among different peoples as common aspirations of the human soul. The researcher’s conclusions about “the mechanism of functioning of these genres, which consists in cohesion with the integral system of traditional education, encryptedness, brevity and imagery of information, anthropocentrism, situational adaptation” are also characteristic of Yakut proverbs and sayings.

Very interesting how national characteristics visions of the world, original proverbs among various peoples:

Adyghe paremiological tirade (one hundred truths), Adyghe khorybza, Ossetian anti-curse, Abkhazian omission.

NOT. Emelyanov, through a comparative study, established Turkic-Mongolian parallels of Yakut proverbs. In the early medieval texts of M. Kashgari, “Lugat it-Turk” by Yusup Balasaguni, in “Samples of folk literature of Turkic tribes living in Southern Siberia and Dzungarian steppe”, collected eight centuries later by Turkologist V.V. Radlov, one can find sayings similar to Yakut proverbs, which speaks in favor of the assumption of the presence of common roots. The special attractiveness of proverbs and sayings, widespread among related peoples, apparently lies in the fact that they, reflecting the general picture of the vision of the world, through images understandable to everyone, contribute to the civic education of the younger generation.

Folk song as an effective remedy aesthetic education

Genres of oral folk art that require special training from the performer include:

2) heroic epic - olonkho;

3) historical legends and epic poems.

The specified genres are performed talented singers, storytellers, experts in antiquity, and olonkho - olonkhosut storytellers, especially revered

- people who were put on a par with blacksmiths and shamans for their important role in the life of Yakut society.

The most widespread and accessible of the syncretic genres of folklore is considered to be folk song, which has traditionally been given great educational significance. The first collectors and ethnographers were amazed by the rich artistic world of songs: S.E. Malov, S.V. Yastremsky, V.L. Seroshevsky, I.A. Khudyakov, having familiarized himself with song creativity Yakuts, noted the remarkable poetic abilities of the people.

Folk song is a huge layer of folklore creativity, including verbal, musical, stylistic diversity, united under the general name “singing” only by the nature of the performance.

In Yakut folklore, four sections are distinguished according to thematic content:

1) songs about nature and the native land;

2) songs about love, marriage and family life;

3) songs about work and life;

4) songs and poems with social protest against oppression and justice.

But not all songs fit into this framework in terms of their main characteristics; we are talking about varieties of Yakut musical and song folklore, which in terms of content and the nature of performance also belong to this genre of folklore. For example, kuturuk salayar yrya (final distracting song - literally control of the stern or tail - our note - G.M.) when performing olonkho; the lost art of khabar yryat - throat singing with text (only recently a few imitators have appeared), singing accompanied by a khomus (a small lyre-shaped musical instrument), etc. In Yakut folkloristics, the issues of classification, genre characteristics, and poetics of folk songs have received quite detailed coverage. In 1976, the academic publication of a four-volume collection of Yakut songs was started. The first part is “Yakut folk songs.

Songs about nature" (1976); the second part - “Songs about work and life” (1977);

the third part - “Songs of the Soviet period” (1980); the fourth part - “Yakut folk poems - toyuki” (1983) - these publications, with the exception of the last one, which included large works of the lyrical-epic type - toyuki, were compiled according to the classification accepted at that time by G.U. Ergis on a thematic basis.

Until recently, song folklore was the most widespread and beloved of all types of oral folk art. The establishment of Soviet power and the people's faith in a bright future led to the birth of a new song expressing new revolutionary content. The first Yakut writers created songs with new content, using artistic and visual techniques of folk songs. Many songs based on poems by poets A.I. Sofronova, P.A. Oyunsky, V.M. Novikova, A.G. Abaginsky, S.R. Kulachikov were recognized as folk and became widespread. From among the folk singers, talented singer-songwriters emerged, who at the end of the 30s joined the Union of Writers of the USSR: among them were S.A. Zverev, E.I. Ivanova, N.I. Stepanov, D.M. Govorov, P.P. Yadrikhinsky. The peculiarities of the existence of folk songs in new conditions and the process of transformation of the genre that emerged with the emergence of written folklore contributed to the fact that gradually folk songs from a mass phenomenon turned into individual look creativity. The scientific study of folk songs continues, in the latest research there is a desire of folklorists to delve into theoretical issues through functional-structural analysis of texts.

Musical characteristics of song folklore

Researcher of Yakut folk poetry G.M. Vasiliev considered music the only condition for the real existence of folk song.

Musical folklore, embodied in folk songs and olonkho, occupies a significant place in the cultural heritage of the Yakuts. Works of F.G. Kornilova, V.M. Belyaeva, M.N. Zhirkova, G.A. Grigoryan, G.M. Krivoshapko, E.E. Alekseeva, A.P. Reshetnikova, A.S. Larionova and others were introduced to the world of Yakut ethnomusic, distinguished by vivid images and great originality. In the article by A.P. Reshetnikova about the music of the olonkho “Kyys Debiliye” says that already in the first musicological studies two main styles of folk song degeren yrya and dzhieretii were identified: “Collectors of Yakut musical folklore noted that the style of degeren, due to its inherent clearly expressed musical formulaicity and clear The rhythm was quite easy to record. Another song style - dzhieretii - turned out to be so unusual in sound delivery, rhythm and harmony that the authors of the first notations expressed their regret about the impossibility of conveying in notes all the intonation originality of songs of this type. Let us note that not only for the first researchers, but also for their followers, the greatest difficulty was the iconic image of the complex two-timbre sound of kylysah - a purely specific phenomenon in national music. We find the characteristics of this sound in E.E. Alekseeva: “Kylysakhs, distinguished by their high and pure timbre, like sometimes sharp, sparkling blows, sometimes sparks flickering, as if in the distance, are layered on the sound of the main melody, often giving rise to the illusion of a split singing voice. By decorating and coloring it, they give Yakut singing a unique originality.” The researcher further emphasized that the method of their formation changes depending on the nature of the song and the timbre-register conditions [ibid.]. In the major epic works of Kholonkho there are many songs, for example, by G.G. Kolesov performed 131 songs during the recording of “Nyurgun Bootur the Swift”. There are no special works on how good singers were raised in the old days; in brief remarks one can trace the process of becoming a singer: “Having heard enough of the masters singing, young people decided to perform in the presence of old singers in order to listen to their opinion. The young singers willingly accepted the comments and advice of their older comrades. This is how they gained experience and mastered the skill of singing. The stock of songs was enriched, the singer’s voice matured and strengthened.” “The absence of a specific musical form precisely explains the fact that improvised lyrical songs usually remained in the individual repertoire of the singer-songwriter himself. .. Other singers, if they had to listen to these songs, as a rule, did not adopt them entirely, but creatively mastered them, borrowing only the motifs and images they liked, individual artistic means and techniques, but always creating their own, something new. This is how a well-known exchange of creative experience took place between singers, the development of collective poetic skills, techniques and traditions in song improvisation.”

The interest of the listener and the talent of the singer-improviser are highlighted here as necessary conditions for creating songs. The Yakuts valued singing so much that they believed in its magical power, as if good singing made a withered tree turn green. It is not surprising that the singers enjoyed universal respect, and this had great educational significance for the younger generation.

In introducing children to the folk song genre, it is advisable to highlight two points:

1) attention to the ideological and thematic content, poetics of works;

2) taking into account the musical and choreographic side with the conditions of performance, which goes back to the traditional ritual culture of the people.

In the pedagogical literature, we have not found any special works that study folk songs from the point of view of their pedagogical value, with the exception of the works of G.N. Volkov, where separate chapters are devoted to folk song and its pedagogical potential. He revealed new facets in the pedagogy of folk song: “Lullaby - greatest conquest folk pedagogy, it is inseparably connected with the practice of raising children precisely at that very tender age, when the child is still a helpless creature requiring constant caring attention, love and tenderness, without which he simply cannot survive.” “Everyone sings and listens to songs... Of course, songs also have their own “favorite age”: girls of fifteen to twenty years old sing as many songs as they did not sing before that age and will not sing for the rest of their lives.” The last remark reflects the specifics of the Chuvash folk song; as for the Yakuts, singing is a favorite pastime for a person of any, even the most advanced age. A detailed review in this regard was undertaken by G.U Ergis; he formulated the main conclusion: “Folk singers expressed their attitude towards the surrounding nature, aesthetically assessed it from the point of view of the people of their time, and not only described what they saw and heard. Nature is glorified as the source of life, it waters and feeds a person, provides him with well-being in life, joyful feelings of perception of beauty. The songs in this section reflect the poetic views of the Yakuts on nature, love for their native land, the beginnings of people's patriotism. The chanting of natural phenomena reveals the skill of the singers and the richness of the visual techniques of folk poetry.” It is noteworthy that the author highlighted changes in the nature of the image of reality from contemplation to the expression of dissatisfaction with social conditions, which reflects the dynamics of the development of the consciousness of the working masses, but in accordance with the ideological guidelines of his time, he defined “the social consciousness of the Yakut masses as backward”, since “they do not contain a call for an open revolutionary struggle of the masses against the exploiters." Accepting the idea that some songs correspond to a certain age in general, we would not strictly distinguish between the thematic and genre variety of songs by age categories, since young people learned to sing from the older generation, and children imitated them in performing the songs they liked. These were the features of the existence of songs, with the exception of ritual ones, which required certain preparation and an appropriate performance environment. Further delving into the study of genre characteristics of song folklore allowed researchers to approach the explanation of the choice of objects of chanting in works from a slightly different perspective. “The narrative part of the ceremonial song is not dedicated to the chanting of animals, birds, Ysyakh and the spring blossoming of nature. It plays a different role in the composition of the song (...) The main organizing link of the narrative component is the method of cause-and-effect coupling of images, narrowing of images or their coupling.” This understanding of the function of images is attractive because they highlight the features of folk poetics, which clearly reflects the national vision of the world.

The song “Wal oo barakhsan” (“Good fellow”) glorifies the ideal of a young man whose “right hand is money” - this is his earnings, and “his left hand is sable” - trades, and “who always cares about tomorrow,” “even being old and weak,” he knows how to be useful to people, “and who can compare with him if his heart is good.” The song glorifies the image of a wonderful young man, strong, smart, kind, with an honest soul. The wisdom of the people is manifested in the fact that the song speaks specifically about a young man - the hope and support of people, so that the young man from an early age realizes his destiny - to be the main one and responsible for the fate of the people. Of course, songs of this nature are intended for effective education. From simple everyday songs to philosophical toyuks glorifying the universe, from playful, playful to serious, intended to accompany various rituals - the Yakut folk song is as diverse as life itself.

The improvising singer uses generally accepted, formulaic structures and expressions, but at the same time the performer is given the right to introduce elements of his own creativity. In the art of creating an artistic image, only the singer who has his own style and variety of artistic depiction techniques is truly valued. “In the art of the singer-improviser, the decisive factor has always been - if not to talk about his natural ability - the ability to use the richest arsenal figurative means language and having great skill in the technique of free alliterative poetic speech"

Mastering the artistic and visual means of folk poetry - Long procces spiritual enrichment through comprehension of the techniques of artistic perception of the world. The cognitive significance of studying images of folk poetry is convincingly stated by researcher N.Z. Kopyrin: “Studies of poetic imagery, visualization of literature are necessary, on the one hand, for the comparative study of literatures, their characteristics, relationships, mutual influences and rapprochements, and on the other hand, for knowledge of aesthetic and ethical views, psychology, the nature of perception and understanding of the surrounding world, how they change, enrich, etc.” .

This statement is true for all genres of Yakut oral folk art. The theme and imagery of the folk song are prompted by the living conditions in the northern region and reflect the unique mentality of the people; in this regard, Yakut songs can be considered a complex, syncretic phenomenon of art.

Osuokhai – a syncretic genre of folklore

Osuokhai is a synthesis of song and dance arts.

Circular dances, according to researchers, in ancient times reflected the cult of the sun, and initially singing and dance movements had a sacred meaning - praising the god Aiyy in the form of a heavenly body. Over time, having lost its hidden meaning, osuokhai was transformed into a mass art form that could be performed at any celebrations, but mostly in the summer, during the celebration of the Yakut New Year. The singers competed in eloquence, strength and beauty of the sound of their voices, and the ability to hold a tyusulge - a circle of dancers. Famous singers could improvise on a variety of topics for two or three days in a row. S.A. became famous as an unsurpassed singer-improviser. Zverev, a native of the Suntarsky ulus. The Yakuts themselves relate Osuokhai to the art of dancing rather than to singing; this genre is denoted by the Yakut word k, the etymology of which goes back to the meaning of “worship”.

The beneficial effects of osuokhai on a growing person are noted:

1) as a dance art, it develops physical qualities;

2) as a song genre of folklore, it contributes to aesthetic development;

3) as verbal art - develops speech, imagination, creative abilities.

The obvious advantages of osuokhai include the psychological aspect of the issue; It has been established that during dance a person receives a huge charge of energy, is relieved of stress, and feels spiritual unity with other people. Unfortunately, today this art is also losing its mass character, although individual enthusiasts are actively working to promote this genre among the population: the Osu Okhai association has been created, annually, on the initiative of cultural institutions, singing competitions are organized, texts and popular science books are published. Philologist N.E. Petrov wrote a manual for schoolchildren, “Osuokhai at School,” which includes Osuokhai texts for students from fourth to eleventh grade (1989). The experience of teachers in the Verkhnevilyuisky and Suntarsky uluses of the Republic of Sakha (Yakutia) indicates that the effectiveness of mastering the osuokhai dance directly depends on how early children began learning this art, since the necessary performance skills and the ability to improvise are instilled only as a result of painstaking work with students.

Educational value of ritual poetry

A separate layer in song folklore Ritual songs stand out due to the multidimensionality and syncretism of the material. Using the example of the study of ritual poetry, we will consider the modern formulation of the question of classification of the genre. G.U. Ergis, completely justifiably considering the concept of ritual poetry in inextricable unity with the mythological views of the people, gave the main characteristics of this complex phenomenon: “Thus, myth and ritual, mutually related, become the basis for the development of a special type of poetic creativity - ritual poetry. In Yakut rite, ritualism is called “duom”

or “tuom”, the custom, the rule is “sier”, and the wishes, blessings or spells, prayers, dedicatory chants performed during the ritual are called “algys” (from the verb algaa - to bless, to wish well, to greet, to conjure, to pray, to glorify). When classifying (following V.Ya. Propp) he proceeded from the theme of algyses, as fundamental signs that determine the essence of the phenomenon. “Based on the collected materials, the ritual poetry of the Yakuts can be divided into the following groups: 1) pastoral,

2) trade, 3) rituals and algys of blacksmiths, 4) family and household, 5) tribal.

Shamanic rituals and rituals stand apart.” The development of folkloristics, in particular, its methodological guidelines, has led to an understanding of the need to take into account diverse essential features when classifying genres. In this plan big interest presents a detailed study of S.D.'s system of genres. Fly spitting. Based on the analysis of the works of previous authors and the use of the functional-poetic principle, the researcher proposed a reasonable classification of Yakut ritual songs. To show how complex a phenomenon the concept of ritual song represents, let us give an example from this work: “Combining the concept of genre and type, we can say that the genres of Yakut ritual songs are incantatory songs, ritual and plaintive. The genre of spell song consists of such types as song - agreement, song - command, song - narration; genre of ritual song - from ceremonial song and warning song; the genre of plaintive - from the “author’s” song and role-playing. The types of songs, for their part, are divided into subtypes according to their everyday use: maternity, wedding, calendar, etc. Ritual songs not only fall into genres, types and subtypes. In general they are divided into two large groups. One group consists of genres that are poetic and musical in nature. Another group includes poetic, musical and choreographic genres, i.e. songs performed at circle dances". This division of songs allows us to take into account important aspects of scientific interest: functional diversity, poetics, syncretism of the genre. Folk environmental education in the form of ritual poetry is an important part of the spirituality of the people. The cognitive significance of ritual poetry is great; every detail in it is informative and significant, since the variety of rituals reflects the entire complex of ideas about the relationship between man and nature, where the idea of ​​the unity of man with nature is fundamental.

Ecological function of algys

The Yakuts had folk calendar, corresponding to the lunar calendar, in which every fourth year had an “extra” month - “tirge yya” in August, that is, the month of catching ducks with homemade devices from twigs, called tirge. The Yakut year began in May, when the long-awaited Yakut spring arrived after eight to nine months of cold weather and stormy days. During the year everything important events accompanied various rituals, during which spells and blessings were necessarily performed, united by the single term algys. The most important national holiday of the Yakuts - Ysyakh - initially reflected the ancient cult of the sun, then the worship of the sun was replaced by a ritual of appealing to the celestial gods so that they would send the next year fruitful, favorable and happy for people. Rituals and spells on Ysyakh were performed by a specially trained person - algyschyt - a spellcaster, from among the most respected and talented, and in the old days this mission was entrusted to white shamans, a kind of priests of the Aiyy cult. Ethnographic literature records many examples of such spells, where each word has a sacred meaning. There were many rituals in everyday life: on the occasion of moving to letnik-sayylyk, calving of cows; blessing of the spirits of fire, localities, good wishes in honor of weddings and other celebrations, the birth of children; the spell of Bayanai - the patron saint of hunters, spirits of rivers, lakes, so that there is no hunger; algys – request – protection from evil spirits and vices, etc. – many of them, according to the established sier-tuom (rules of conduct), were improvised at the time of performance; for this purpose, a proper environment with indispensable attributes was created. At the same time, the words of everyday algys-spells were easily and naturally remembered, thanks to the formulaic nature of the language and the static structural and stylistic organization of the texts.

An example of the existence of ritual poetry sheds light on the question of traditional ways and methods of introducing young people to specific genres oral folk art: creating an atmosphere, serious attitude to the performance of the ritual, unquestioning observance of the ritual, instilling faith in the magical power of algys words, learning in practice, reverence for nature, attention to inner world person. A person brought up on the traditions of respect and love for the surrounding nature does not find it in himself to be aggressive towards others. This is the ecological meaning of ritual poetry. Algys attracts people with a general psychological attitude towards the success of the undertaking, the positive attitude of the participants, and the denial of the bad sides of life. During the times of a nihilistic attitude towards folklore, some types of algys acquired new content, corresponding to the spirit of the times, so the tradition of blessing and good wishes did not go away with the time that gave birth to it, like other types of algys - shamanic spells. Our research confirms that Algys is currently experiencing a period of growth in the new Yakut reality; this can be explained by the fact that human nature is responsive to a kind word, and a positive attitude is always and everywhere in demand. In pedagogical practice, the above-mentioned features of algys could bring undoubted benefits in the psychological rehabilitation of children and in solving many practical issues in everyday life.

Pedagogical content of mythology

Initially, mythological stories had a socially significant purpose - the interpretation of the surrounding reality from a moral standpoint. A widely circulated version of the story “A Gathering of Birds” tells of a woodcock who, out of envy of the large birds, tries to kill himself.

People do not favor this bird, this is clear from the hidden irony. Everyone has their own destiny, do not envy anyone - this is the moral of the myth. Most of the myths relate to the wildlife of the northern region. Sparing words, but very accurately convey the distinctive features of the animal world. These myths cannot be considered only a naive explanation of natural phenomena and the origin of the animal world; such stories testify to the keen observation of the creators and their moral and ethical views.

Let's look at examples:

Grouse and pike Grouse and pike fought, shooting at each other from a bow. The black grouse shot from above and hit the pike in the back with an arrow. And she shot from below, and her arrows hit the legs of the black grouse. One still has those arrows on his back and the other on his legs.

Some myths explain a behavioral pattern among a certain group of people united by ties of kinship or beliefs. The origins of these beliefs go back centuries, sometimes discovered by researchers at the opposite end of the world among many peoples. This is the attitude towards the eagle totem in the story below. It is noteworthy that the design of the tangalay caftan has a sacred meaning. Knowledge of such moments allows us to understand the roots of folk traditions and common origins.

Ancestor of the Batyly people A man named Batyly arrived in modern Buustakhsky in ancient times (...). The ancestor of this Batyly was, they say, a bird - an eagle. The Batylin residents do not kill him and honor him very much. Women of the Batyly clan, if they see a soaring eagle, they say they put on a rovduz caftan, called tangalay, honoring it as the daughter-in-law of their father-in-law. Here we come from Batyly.

The moral lesson in myths is presented as an unshakable truth that does not need proof. In perception modern child the myth does not lose its attractiveness due to its original imagery, fantastic nature, and at the same time the relief and simplicity of the depicted world. Myths of this kind touch upon issues of honor, fidelity to duty, gratitude for kindness, compassion for the grief of others, and poverty. Below is the text of the myth recorded by ethnographer-political exile V.M. Ionov.

The orphan boy and the moon The Yakuts say this about the spots that are visible on the moon. In ancient times, one orphan was a slave to one rich family. The lady said: “Go on the water.”

Then the boy, taking a bucket and a rocker, went to fetch water. Returning with water, he stopped at a young larch tree and, leaning against it, began to cry, saddened by the fact that he was an orphan. At this time the moon came down to him and took him to her.

It is a sin to offend an orphan. If you make an orphan cry, then his cry passes through the nine heavens and becomes audible to the Aiyy Toyon. Then Ayyy toyon will punish the person who offended the orphan.

The study of myths helps to broaden one’s horizons, cultivate morality, and develop intercultural competence in the younger generation.

Cognitive significance of historical legends and traditions

The most widespread genre of Yakut folklore is undoubtedly considered kepseenner - stories. Under the general name bylyrgy kepseenner, sesenner prose genres of Yakut folklore are presented: from small everyday stories - everyday stories, to stories about outstanding personalities, from romantic legends to religious-mystical stories and historical legends. The unpretentiousness of living conditions and the participation of almost anyone in telling entertaining stories made this genre of folklore very popular among all ages. Particularly revered were skilled masters of words, guardians of antiquity, they were called sesennyitter - storytellers.

The pedagogical value of these works is great; their impact on the formation of ideological, moral and ethical qualities of students’ personalities has not yet been studied; in the works of ethnographers, historians, and folklorists, only individual information was given regarding the functional role of folk prose genres. The main feature of the most significant genre - historical legends - is that for the most part they truthfully reflected various events and facts that took place in the history of the people. This was noted by A.E. Kulakovsky, G.V. Ksenofontov, G.U. Ergis, G.M. Vasiliev and other researchers who had to compare folklore information with archaeological and archival data. Historical legends have great historical and ethnographic value, the cognitive value of which is difficult to overestimate. The high accuracy of the information contained in them was ensured by strict rules of narration - the heard legend had to be retold, without adding or subtracting anything from oneself. Truthfulness is perhaps the most important thing personal quality Yakuts, apparently, were brought up this way in the old days.

Over time, some facts were erased from the memory of generations - traditions turned into legends - stories with fantastic and mythological elements. Legends perpetuate the unusual destinies of people, important, significant events in the life of the people. Stories about famous runners, successful hunters, skilled blacksmiths, tireless mowers, famous heroes, singers, etc. excited the mind and imagination, gave confidence and charged with energy. Compiling a family tree, undertaken by many today, is evidence of an increased level of culture, a desire to find support in the experience of the past. In the legends, the ancestors of the Yakuts Omogoi and Elley are contrasted to each other precisely in cultural terms. The noble head of the Buryat family Omogoi is smart and rich, hospitable, fair in his own way, but lives in the old fashioned way. A young man of the Tatar tribe named Elley arrives along the Lena River, having only a head on his shoulders and skill in any matter. Having hired himself as a worker, Elley works tirelessly: he cuts windows in the yurt, improves the stove - builds a chimney, builds pens for livestock, etc. Even in choosing a wife, he is guided by the qualities necessary for procreation and the improvement of everyday life. Elley’s actions reveal pragmatism, dictated by the need to survive in the harsh conditions of the Yakut nature. There is no antagonism in the relationship between Omogoy and Elley, despite the tragic circumstances in connection with Elley’s marriage to Omogoy’s unloved daughter. The legend states: the adoption of a higher level of culture by the Yakuts occurred of their own free will; the basis of the Yakut culture was laid by the Turkic-Mongolian tribes. As the story goes, Elley fled from his fellow tribesmen, saving his elderly father from imminent death; along the way, his father’s wise advice protects his son from many dangers. Elley is calm and patient, does not harbor a grudge against Omogoi when he kicks him out with his wife, but extends his hand for reconciliation - invites him to the Ysyakh holiday, receives the blessing of the elderly. From this blessed union the Yakuts originated. Many generations were brought up on such examples. This legend is also notable for the fact that it mentions the Buryats and Tatars. According to legend, Mongolian and Turkic tribes took equal part in the formation Yakut people, this version is partially confirmed in the works of researchers. A.P. Okladnikov, based on a comparative study of Buryat and Yakut legends, established the similarity of motives: “the basis of the legends about Elley and Omogoy is the ancient world plot about the innocently persecuted divine twin heroes and that it cannot be considered as a specific historical record travels of the ancestors of the Yakuts of the Baikal region or Southern Siberia to the Lena". On the issue of the historicism of the legend, we are more impressed by the cautious statement of G.U Ergis: “It is possible that both Buryat and Yakut genealogical legends contain ancient motifs about persecuted heroes, but the main content of the legends that have reached us reflects historical phenomena rather than mythological ones. Regarding the Kurykan origin of the story about Omogoy and Elley, as well as about Ajirai Buhe and Kharamtsai Mergene, it is difficult to say anything to confirm or refute A.P.’s guess. Okladnikov, since we do not know any specific monuments of Kurykan folklore.” This version is also supported by pedigree tables, where the ancestors of all known genera are presented in a descending line to their modern representatives.

A significant part of historical legends consists of stories about outstanding people, especially revered by the Yakuts. The cult of physical strength, endurance, and speed can be seen in stories about famous strongmen, wrestlers, and runners. Particularly popular were the Strongman Ivan, who raised a fifty-pound bell, the invincible national wrestler - hapsagayu Mas Mekhaele, the Runner Nechcheke, who outstripped a horse over a distance of several tens of kilometers, the national hero of Manchaara - the Yakut Robin Hood and others. The heroes of these stories are endowed with the best human qualities, and strength and dexterity are glorified only among those who are kind and modest, for a true hero of tradition always stands up for the poor and downtrodden. With such examples we are once again convinced that what is truly national is always international. Bogatyrs from Russian epics, heroes of Central Asian epic tales, Greek myths, Western European epics - all are united by a heightened sense of justice, patriotism, and love for people.

In Yakut historical legends significant space is given to the depiction of labor. The attitude towards work is exalted, and this is not surprising, because in order to survive in the north, everyday hard work is necessary. On the verge of the fantastic and the real, the story tells about unique labor records: how the old woman Mogoos defeats all the mowers while mowing, how another one chopped several dozen cartloads of firewood. Surprisingly, these stories, in fact, did not turn out to be an exaggeration. G.M. Vasiliev gives the following example from real life: “A collective farmer from the Terasinsky nasleg of the Tattinsky ulus, Egor Romanovich Tolstoukhov, on the shock day of August 1, 1937, mowed down 4.88 hectares in the Nammara Trd area... it happened when a lumberjack, armed only with an ax, cut down a day up to 70 cartloads of long-life firewood, or up to 5 fathoms (10 cubic meters) of firewood by firewood.” The legend ennobles even hard physical labor, for this is a necessary condition for the existence of the people, therefore the labor achievements of people are elevated to the rank of a feat - such is the educational value of these stories.

In the variety of everyday stories, stories about shamans and various spirits stand out as a separate topic, but these stories belong more to the realm of fantasy, which has entertainment value, than to superstition itself. Some of the “horror stories” concern shamanic legends, in whose supernatural abilities many Yakuts believed. But even in them, the affirmation of moral principles prevails: you cannot treat people badly, violate the laws of hospitality, destroy nature, be intemperate in your tongue, etc. After all, you have to answer for everything. IN pre-revolutionary time stories of religious and mystical content were very common, but nowadays they have lost their former meaning, and can only be read with the corresponding comments.

Artistically, the prose genres of folklore are distinguished by great compositional and stylistic diversity; techniques for depicting events in the retelling of the narrator are presented from simple stories to revealing satire and dramatic collisions. Researchers also note the predominance of hyperbole in these genres of folk prose, but “more moderately than in the heroic epic Olonkho.”

The positive experience accumulated during the active existence of genres, in the critical analysis of works from the point of view of their pedagogical appropriateness and the validity of the choice of material, can be effectively used in the process of school education. In this regard, we would like to especially highlight stories about the ancestors of the tribe, stories about outstanding people, events that have special cognitive and educational significance.

–  –  –

native tales telling about the heroic struggle of the heroes of the epic Aiyy tribe with evil monsters from other worlds. The average size of these legends is 10–15 thousand poetic lines, and according to Olonkhovo expert I.V. Pukhov, the largest recorded olonkho contains 52 thousand lines of poetry. Olonkho in a special artistic and aesthetic form reflects the form of social consciousness of the people, their worldview, historical memory and level of spiritual culture. The figurative word olonkho represents the highest form of development of oral poetry of the Yakuts. It contains the germs of many types of folk art: music, singing, poetry, theatrical and visual arts. The exceptional importance of olonkho for spiritual development The Yakuts were emphasized by researchers of the past, ethnographers, members of expeditions of the Russian Geographical Society, in whose works the first fixed examples of folk epic appeared. The term olonkho was first used by academician O.N. Betlingkom in his fundamental work “On the Language of the Yakuts”

AND I. Uvarovsky, author of Memoirs, the first literary monument Yakuts. In the future, we will use this term both in the genre designation of the heroic epic and in the meaning of individual works of this genre, as is customary in scientific literature.

The diversity of olonkho is due to the indivisibility of poetry and music, characteristic of the syncretic form of culture that arose at the intersection of mythological and real perception of the world. Apparently, this diversity made it difficult to define the olonkho genre in early stage research. When defining the genre, the first collectors oral creativity Yakuts were based on the content side of the epic, on the similarity of plots and motifs with mythological stories, as well as on the fantastic nature of the elements, which gave some commonality with fairy tales, which made it possible to classify olonkho as a fairy tale genre.

According to folklorists, the Yakuts themselves designated both heroic epics and fairy tales under the general name olonkho; they only distinguished between olonkho with singing (yryalaakh olokho) and olonkho without singing (saty olokho). The term fairy tale in the designation of the heroic epic was used until the 30s.

The scope of application of the generally accepted term is also evidenced by the fact that P.A. Oyunsky, being an olonkhosut himself, undoubtedly, like no one else, knew the difference between an olonkho and a fairy tale, but he entitled his article, published in 1927: “The Yakut fairy tale (olonkho), its plot and content.”

Arguing the position about the historical-stage development of folklore, the founders of the historical-typological theory pointed to some separate genre feature of olonkho, common with the epics of other peoples, therefore there are various definitions: “epic poems”, “archaic epic poems”, “heroic tales”. The last term was proposed by V.M. Zhirmunsky: “The heroic epic, if it existed in this ancient era (which is not excluded in principle), probably had the character of a non-historical epic (like works of the feudal era, like the Kazakh zhyrs or even the Kyrgyz Manas); it should have approached a more archaic type of heroic tale, far from specific memories of the history of the people and the state and colored with elements of fairy-tale-mythological fiction - like the epic of the Altaians, Shors, Khakassians, Tuvinians, Yakuts, which preserved this ancient tradition from the times of the Turkic Kaganate and before until the recent past."

Fairytale-mythological fiction is the main feature of the archaic epic, just like in E.M. Meletinsky. “A purely mythological figure of the “mother” or “mistress” of demonic heroes is typical for archaic epic.

Such are the old shaman Abaasy in Yakut poems, the old partridge woman - the mother of Altai monsters, the ugly Mangadhayka among the Buryats, the “swan old women” among the Khakass, the mistress of the North Louhi among the Finns and Karelians.

With the advent of special works, folklorists dealing with the problems of the Yakut epic in their works adhere to the term “heroic epic”, justified by I.V. Pukhov: “So, the plot and composition, the historicism and heroic nature of the content, the language and style of narration, the poetic rhythm and character of performance, and finally, the volume of works - all this convinces that the Yakut olonkhos undoubtedly belong to the genre of heroic epic, and not to the genre of fairy tales, including heroic ones, as its variety or some kind transitional form from fairy tale to heroic epic." I.V. Pukhov, a recognized authority in olonkho studies, here draws attention to those aspects by which the olonkho genre is determined.

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(Slide 1) (Music 1)

The purpose of the lesson: To acquaint children with the peculiarities of the sound of “dyeretii” (Dzheretii) and “degeren” yrya based on examples from the olonkho opera “Nyurgun Bootur the Swift”.

Tasks:

• educational: To introduce children to the styles of “dyeretii” (Dzheretii) and “degeren” yrya, based on a comparison of the songs of the heroes from the olonkho “Nyurgun Bootur Swift”.
• nurturing: To cultivate a culture of listening to music, a culture of behavior, as well as patriotic feelings, interest in Yakut folklore, in the Olonkho epic.
• developing: To develop good musical abilities (memory, hearing, voice, rhythm) and an outlook on Yakut folklore, mental activity.

During the classes

1. Organizational part.

Children enter the classroom with the bell ringing to the music of nature, where the Yakut national instrument - khomus - is played and go to their places. A musical greeting is performed in the Yakut language:

Utuokununen! (Good afternoon!)

Utuokununen! (Good afternoon!)

E5erde kyrgyttar! (Hello girls!)

E5erde! (Hello!)

E5erde walattar! (Hello boys!)

E5erde! (Hello!)

2. Main part:

(Slide 2) (Music 2)

Guys, tell me, who is this? (What is this person doing?)

Olonkhosut (Olonkho Storyteller).

Olonkho performs olonkhosut (storyteller of olonkho), he was a storyteller and performed songs of all the heroes of olonkho.

What is olonkho? (Children's answers) Olonkho is a Yakut heroic epic.

Have you ever listened to Olonkho? (Children's answers)

The olonkho tells the life of the ancestors of the Yakuts, their thoughts, traditions and customs, food, clothing, strong character, concept of nature and the universe. The main plot of Olonkho is the powerful hero of the middle world Nyurgun Bootur. He defends his land.

In the middle world, Deities inhabit people. Families raise their daughters in a strict manner, hiding them from prying eyes. When a girl turns 18, young men come from different uluses and compete with each other for the girl’s hand and heart. The winner gets a girl as his wife. During the height of the fun, unclean forces (abaas) emerge from underground and forcefully take the girl into their world. The hero must save the girl. Olonkho ends with a wedding.

The name of the olonkho is determined by the name of the main character - “NyurgunBootur”, “Er So5otoh”, “JiribineJyrylyatta”, etc. The most famous and popular is “Nyurgun Bootour Swift”. On November 25, 2005, the World Organization UNESCO recognized the Yakut olonkho “NyurgunBootur Swift” as a masterpiece of the oral intangible heritage of humanity.

How many worlds are described in Olonkho. (Children's answers).

(Slide 3) Olonkho is built on the basis of three worlds - Middle, Upper, Lower.

(Slide 4) Tell me, guys, who lives in the Middle World? Middle world- ayyysire or orto doidu - is the center of the universe, the country where people live, and every living creature and every object has its own spirit - “ichchi”.

(Slide 5) Tell me, who lives in the Lower World? The lower world is Utugen or Yutyugen (underworld), or NukenWoden (dark underworld) the world of evil monsters that interfere with the happy life of people. Their leader is Arsan Duolai.

(Slide 6) And in the Upper World? The upper world is the world of the gods led by YuryungAar-toyon. Good and evil deities also live in the upper world.

Who is the main character in Olonkho? (Children's answers). Bogatyrs, beautiful girls, abaas.

How do Olonkho heroes talk to each other? (Song)

It turns out that olonkho is closely related to our music lesson, right?

(Slide 7, 8) (Topic, goals and objectives)

– Therefore, today, by comparing the songs of Olonkho heroes and Yakut national songs with each other, we will get acquainted with the two main Yakut styles of songs.

What is the most famous olonkho among the Yakuts?

- “NyurgunBootur Swift”.

If you listened to this olonkho, who is the main character? (NyurgunBootur, TuyaarymaKuo)

Listening to the songs of the heroes, we will learn to identify Yakut styles. Guys, we must listen carefully to the songs of the heroes, determine the tempo and mood of the song, determine which heroes they are (negative or positive). We determine the tempo of a song by the speed and slowness of the performance. We can also determine the mood of the song: happy or sad.

(Slide 9) - Nyurgun Bootur is a powerful hero of the middle world. He defends his land. Nyurgun Bootur most vividly embodies the features of heroic images in general: love for the Motherland and the people, courage, determination, enormous physical strength. Let’s now listen to Nyurgun Bootur’s song from the olonkho “Nyurgun Bootur the Swift”. (Music 3)

(After listening to the song Nyurgun Bootur)

What is the tempo of the song? (slow)

What is the mood of the song? (Solemn)

What is the song about?

What kind of hero is NyurgunBootur? Negative or positive? Why?

Who does it protect people from?

Then the children tell what they saw before the eyes of a hero-hero who loves his land and is ready to go to protect the people of the middle world from the super-essential forces of the lower world of abaasy.

(Slide 10) – It tells who SorukBollur is. Reading the words of the song SorukBollura. (Music 4) Listening.

(Children should hear the mood of the song, where his song seems to be stuttering, out of breath.)

SorukBollur is a comic character, a herdsman guy. He is a cheerful, persistent, resourceful young man who usually leaves his masters in the cold. This touching hero, everyone's favorite, captivates with his sincere spontaneity and folk-humorous character. Despite his poverty and disadvantaged situation, SorukBollur has an independent character: he is daring and witty, he never misses an opportunity to laugh at his slow owners, and he deftly dodges punishment for his unlawful misdeeds.

The tune of the song SorukBollur is a typical example of a poignant song of a guy-herdman, revealing the cheerful disposition, humor, and cheerfulness of the youngest Olonkho character. His song contains the enthusiastic exclamation of a mischievous messenger and expressively conveys his excited, fussy speech.

What is the tempo of the song?

What about your mood?

Who does SorukBollur help?

Is he a negative hero or a positive one?

Guys, we listened to two songs. Let's compare these songs. (Children's answers)

(Slide 11) - Guys, you said that NyurgunBootur’s song is slow, drawn-out, solemn. The Yakuts, like all peoples, have long been inseparable from song. The need for musical self-expression was so strong that the Yakuts often expressed their suffering during illnesses through singing. Today, two styles of singing are particularly well known. The first is the “high” style of “dyeretii” yrya, which is drawn-out, smooth, solemn singing. It is of an improvisational nature, decorated with abundant kylysakhs (kyly? akh). The main positive characters of Olonkho and the Olonkho opera sing in the style of Olonkho. Songs in the style of Dieretiya begin with the exclamation: “Die-buo!” (“Die buo!”), “Ker bu!”.

(Slide 12) The second traditional style of singing is degerenyrya - a Yakut folk song with a measured melody, often of a moving nature. Less decorated with kylysakhs than dyeretiiyrya. All everyday songs are written in the degeren style.

So, how many styles are there in Yakut songs? Which?

Now we will listen to composer and Yakut folk songs and compare Yakut styles.

Let's listen to Grant Aramovich Grigoryan's song “Sahamsirebarakhsan” (My Yakutia) - listening. (Music 5)

Which hero's song can this song be compared to? (Nurgun Bootur)

Children must determine that this composer’s song sounds in the style of “dyeretiya”, but there are no kylysakhs - melismas. Through these two songs, children become acquainted with the beauty and breadth of their native land, which must be protected and loved.

Then they listen to the Yakut folk song “Ondoruusketieteybet” (Andryushenka is in no hurry) (Music 6) and after that the children must determine that this song sounds in the style of “dyeretiya”, but there are no kylysakhs - melismas. It is performed melodiously, melodiously and is a song of the lyrical genre.

Which hero's song can the song be compared to? (SorukBollur)

3. Consolidation.

Now, we will listen to songs of Olonkho heroes and Yakut songs. You listen carefully and determine the style, tempo, mood of the songs, and also determine the characters.

1.Song of TuyaarymaKuo (Annex 1)– Kolukecheen Yakut folk song (Ozerko) (Appendix 2)- performed by the teacher;

(Tell that the song Kolukecheen (Lake) is a folk song that tells about the beauty and breadth of the Yakut lake, the Yakut taiga - the Yakut nature.)

TuyaarymaKuo – what image is this? In Yakut folklore, she is a symbol of motherhood, a positive image.

2. Song KyysKyskyydaan (music 7) – Khayysar, to the words of Chagylgan, melody by Kostin (Skis) (Appendix 3)- listening;

3. Song UotUsutaaki (Music 8) – Tyynnaakhtarumnubatsyllara, lyrics by Odorusov, melody by Boilokhov (Appendix 4)- listening.

What is sung about in the songs KyysKyskyydaan and UotUsutaaki?

Children should hear the mood of the song, where the songs of KyysKyskyydaan contain self-characteristics: “I am so interesting, fleshy, ... I am fire, my nails are sharp, ... I am the loudest, bringing only discord and quarrels, the dirtiest and most untidy.” Aria KyysKyskyydaan is calmer in character than that of WatUsutaaki. The song is sung in the degeren style.

Children should hear the mood of the song, where UotUsutaaki’s song contains his self-characterization as an evil, bloodthirsty monster, seized by the passion of exterminating the people of Aiyy Aima5a. must determine the style of singing “degeren”.

(Slide 14) - Image of KyysKyskyydaan - what is she like? (Negative).

It is said that KyysKyskyydaan is the sister of UotUsutaaki, the image of KyysKyskyydaan is related to UotUsutaaki. She also appears as an evil, bloodthirsty creature, but in addition to this, she is also shown as a woman - a seductress, although ugly in appearance.

WatUsutaaki? (Negative)

(Slide 15) It is said that WatUsutaaki is a powerful hero of the Lower World. An evil, ugly monster, a one-armed and one-eyed Cyclops, cruel and not clean. The eternal enemy of the human race, the personification of everything evil and hostile to man. Resident of the Lower World, inhabitant of a dark dungeon.

Why did we compare the songs of negative heroes with songs with the theme of war? Because they wish us harm, they are seized by the passion of exterminating the people of Aiyy Aima5a. Therefore, they are negative heroes.

Educational work is being carried out among the boys of the class to be as kind and courageous as NyurgunBootur and to protect the weak, to love and protect their land from enemies.

4. Physical education minute:

Guys, now we’ll have a rest. In order for us to move quickly, what type of music will suit us (Answers).

Choose any fast music and dance rhythmic movements with the children.

V. Learning a song:

(Slide 16) Today we will learn a new song. After listening to the song, we will determine the style of the song. Now let's listen to the song very carefully. (Music 10) (Listening to a song)

What is the tempo of the song? What about your mood?

What is the style of the song? Why?

(Slide 17) This song “Biirdemaniktuohtaabyt” (Once upon a time, a naughty girl...) was written by everyone’s favorite poet Pyotr Toburokov

Read the lyrics to yourself. Are there any unfamiliar words?

(Slide 18) - Guys, do you know what Bysychcha is? (Knife)

Learning a song. (Music 10 (Minus songs))

Did you guys like the song? Why? What did the poet want to convey with this? (Being naughty is bad)

4. Conclusion.

How many styles are there?

The song we learned in class today, what style does it belong to?

Which Olonkho characters did you like best?

What image conveys to us love and respect for the Motherland?

What do we learn from olonkho?

About love for one’s land, fatherland, which must be protected, loved and proud of.

Well done!

(Slide 19) - Korsuohhedieri! (Goodbye!)

Korsuohhedieri! (Goodbye!)

References.

1. Alekseeva R.R. From folklore to professional music. Yakutsk, 1994
2. Baisheva M.I., Afanasyeva M.A. Olonkhomyndyryn - kyrachaannarga. – Djokuuskai, 2004
3. Bogdanrva A. S., Petrova V. I. Methodology for developing work in primary school. – M., 1980
4. Breeze T. Yakutsk olonkho recognized as a world masterpiece // Yakutsk Evening. -2005.-December 2
5. Burtseva D. T. Yakut epic olonkho as a genre. – Novosibirsk, -1998
6. Gabysheva L. Etiquette for performing olonkho // Polar Star, - 2002, No. 2, p. 92
7. Golovneva N. I., Kirillina Kh. I. Yakut musical literature. – Ya., 1991
8. Zhirkov M. N. Yakut folk music. – Ya., 1981
9. Krivoshapko G. M. Musical culture of the Yakut people. – Ya., 1982
10. Olonkho music taken from the disc by Ustin Nokhsorov

Municipal educational budgetary institution

"Secondary school No. 19"

JSC "City of Yakutsk"

Considered at a meeting of the Moscow Region of primary school teachers, Municipal Budgetary Educational Institution Secondary School No. 19

Protocol No. ___

from "___"____ 2015

AGREED

Deputy Director for Water Resources Management V.B. Kostromina ________

"____ "__________ 2015

I APPROVED

Director of MOBU Secondary School No. 19

Sharapova L.N.___________

"____" __________ 2015

Working curriculum on folklore

Teacher: Monastyreva Akucha Yurievna

Yakutsk 2015

Introduction

Epic creativity and modern culture represent an inseparable symbiosis, because their connections are expressed not only in the form of continuity, but the living folklore tradition inevitably experiences the influence of folklore and creative groups.

Patriotism functions and manifests itself through nationality, the original concept of the word - commitment and love for one’s people. A sense of human dignity is unthinkable without national identity, based on a sense of spiritual connection with one’s native people. National feeling leads the people to spiritual blossoming. The higher the sense of nationality, the more a person realizes the essence and historical role of his people, the brighter his dignity. A healthy sense of belonging to one’s own nation is as natural as a child’s love for his parents, home, or his inclination towards his native language.

The experience of living in cultural diversity is acquired over the years, and it is important to teach children that there is no good and bad, high or low, developed and undeveloped culture. They are simply different, not similar to each other, having their own advantages and disadvantages, strengths and weaknesses.

Explanatory note .

In recent years, noticeable progress has been made in the revival, preservation and development of the original culture of the Sakha people. Much attention is paid to folk art, folklore, the heroic epic "Olonkho", the national holiday "Ysyakh", the Jew's harp music "Khomus", folk chants (toyuk, osuokhai), etc.

In order to improve the quality of conducted traditional events, introduction of new forms, updating of content are required to promote the Yakut traditional culture. It is important to carry out this type of work from primary school in order to preserve and develop continuity with preschool education and introduce children from an early age to their native culture.

Main goal of the program : creation of a social cultural space that promotes the folk art, spiritual, aesthetic development of students while preserving the traditions of the Sakha people. Acquisition of children to the wealth of national culture, traditions and customs. Finding and supporting capable and gifted children, promoting their upbringing in favorable conditions.

Main tasks:

Involving students in folklore creativity.

Development of students' creative potential.

Introduce children to the oral works of Olonkho.

Learn to play the folk instrument khomus.

Renaissance folk customs, traditions, rituals, songs, dances, etc.

Work on the structure, ensemble.

Increasing the general cultural level of program participants and social environment.

Promotion of “new names” of debutants in the field of folklore.

Creation and implementation of socially significant creative projects.

Exchange of experience, holding master classes.

Area of ​​activity : folk instrumental music, oral folk art, folk genre (toyuk, osuokhai, folk singing), folk choreography.

Expected results:

At the end of the training, ensemble members should know:

History and meanings of folk art;

Features and traditions in the national culture of the native republic;

Have a basic knowledge of the art of other peoples and nationalities living in our republic.

Students should be able to:

Perceive and express your concept of the meaning of folklore and national culture;

In practice, pay attention to the meaningful meaning of folk art, connect it with the phenomena of social life;

Independently analyze the topics being studied;

Lead and sing osuokhai (national choral singing), sing folk songs, toyuk, play khomus and other national instruments;

Students must master :

The main genres of folk art and folklore of the peoples of Yakutia;

Customs and rituals of the peoples of the republic;

The main content of the most significant epic works of oral creativity of the Sakha people (Olonkho, Osuokhai).

Students of the ensemble, after completing a full course of study, have a level of knowledge and training corresponding to successful participation in competitions and festivals.

To successfully implement this program it is necessary:

Materially – technical support:

Specially equipped rooms for classes with children;

Folk musical instruments: khomus, kupsuur, etc.

Tape recorder, video-audio equipment, sets of CDs, microphones, etc.;

Folk costumes.

Name of sections

Practical part

Number of hours

Homework

Folk dance - round dance "Osuokhai"

Learning words for singing.

Learn the words of Osuokhaya.

Listening

Osuokhaya.

Learning the osuokhaya melody.

Repeat the osuohaya melodies.

The role of the lead singer is osuokhai.

Learning the dance. Walking.

Repeat the dance.

Learning a dance with a song.

Yakut folk songs

Listening to folk songs.

Song selection.

Learn songs. Melodies.

Learn to sing on your own.

Put on songs

Yakut riddles

Make riddles

Find the riddles

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

Tongue twisters-chabyr5ah

Medley of folk songs.

Heroic epic - Olonkho.

Toyuk - folk singing

Learning tongue twister words

Patter with singing. Learn the melody.

Put the tongue twister number with the group.

Song selection.

Learn words, melody

Perform a medley number with the group.

Choice of olonkho.

Listening to toyuk.

Learn songs from olonkho

Toyuk song repeat.

Learn tongue twister words.

Develop kylysakh.

Improvise toyuk.

List of scientific and methodological literature.

1. K.D. Utkin “The Voice of Living Nature”, KIF “Citym” Yakutsk, 1993.

2. A.S. Adamova “Oskuola5a khomus kuruyuoga”, Pokrovsk, 1997.

3.A.E.Zakharova “Yakut folklore”, Yakutsk, 1993.

4.E.P.Zhirkov “How to revive national school. Steps of the RS (Y)", Moscow 1992.

5.K.D.Utkin “Culture of the Sakha people” Yakutsk, 1998

6. A.P. Okladnikov “The past of Yakutia before joining the Russian state”, Yakutsk 1949.

7. M.N. Zhirkov “Yakut folk music”, Yakutsk, 1981.

8. I.A. Khudyakov “Brief description of the Verkhoyansk Okrug”, L., 1969.

9.V.L. Seroshevsky “Yakuts”, St. Petersburg, 1896

10. I.E. Alekseev “The art of playing the Yakut khomus”, Yakutsk, 1988.

11. N.A. Alekseev “Traditional religious beliefs of the Yakuts”, Yakutsk, 1991.

12.G.M. Krivoshapko “Musical culture of the Yakut people”, Yakutsk, 1982.

13.G.U.Ergis “Essays on Yakut folklore”, M., 1974.

14. G.V. Ksenofontov “Shamanism. Selected works", Yakutsk, 1992.

15. A.E. Kulakovsky “Scientific works”, Yakutsk, 1979.

16. S.V. Yastremsky “Samples of Yakut folk literature”, L., 1929.

17. A.I. Gogolev “Historical ethnography of the Yakuts”, Yakutsk, 1986.

18. I.V. Pukhov “The Yakut heroic epic olonkho”, M., 1962.