Our guest was a folk singing teacher, head of the folklore studio “Nettle” at the interclub of the Peoples' Friendship University of Russia Katerina Karelina.
We talked about Russian folklore and the revival of interest in Russian traditional music.
A. Pichugin
– Hello, dear listeners, my name is Alexey Pichugin, I welcome you to the bright radio studio. Today, together with you, this hour, our “Bright Evening” will be held by Katerina Karelina, head of the folklore studio “Nettle” at the interclub of the Peoples' Friendship University of Russia, RUDN University. Katerina is also a folk singing teacher at the Undiscovered Islands House of Creativity. Hello.
E. Karelina
- Hello.
A. Pichugin
- Well, now, look, we will talk, I think during the program, about Russian folklore and in general about what it is - the origins, why it is now a rather fashionable trend, recent years, it seems so to me, at least. Well, let's start with this. Nowadays, indeed, the love for folk art, folk music, and traditional clothing is becoming more and more relevant. And some trends, festivals are constantly held, different groups emerge that perform in completely different halls and audiences. It seems to me that Russian folklore has now occupied its own good niche, large, quite extensive.
E. Karelina
- Yes, you are undoubtedly right. Because now it’s all being revived very well. And young people, it seems to me, that is, actually, really do a lot for this, because it becomes such a national interest, yes, to preserve their roots, to preserve their traditions. And this is all done in all kinds of ways. That is, now, of course, as you noticed, there is a lot of clothing in this traditional style.
A. Pichugin
– Well, really a lot, you meet them all the time. Why, even I remember, a few years ago, walking around the city in an embroidered shirt, well, in jeans and an embroidered shirt.
E. Karelina
- Well, yes. Well, now there are even, as far as I know, such clothing lines, some designer ones, which are specially sewn and made in this ethnic, Russian folk style. And young people, it seems to me, are now happy to buy such things.
A. Pichugin
– Why is it only now, do you think, that interest has suddenly awakened there over the last five or six years? This was not the case before. Well, remember, 15 years ago, everyone would have laughed if they saw a girl in some kind of sundress, very folklore, but now it’s normal, it’s beautiful, it’s fashionable.
E. Karelina
- Well, firstly, it seems to me that this, of course, and the political situation influences, in principle, all over Russia throughout the world, that I want to somehow show, yes, that the Russian people are still great, and all the same it has a huge history with its own traditions and ways of life. And here it is, just the story, how to show it. This can be done, for example, through songs, through some things like this. Even through clothes, yes, to show that in our country nothing has been forgotten by anyone and in fact everything here is also very interesting, colorful, no worse than in other countries, yes. And folklore must somehow be preserved, multiplied, and then there will be some kind of peace on earth.
A. Pichugin
– How did you come to this yourself? As I understand it, if you head a studio at RUDN University, at the Peoples' Friendship University, then you probably studied there or are studying?
E. Karelina
A. Pichugin
E. Karelina
- Yes, it’s not so simple. I came when I was five years old, that is, I started studying... Well, no, I didn’t start studying vocals, I just once was in such a wonderful ethno-museum, so to speak, where I just fell in love with all this, with all the folklore , in this originality, in this sound that was so specific then for me, the songs when women performed. That is, I realized that at five or six years old I somehow already felt that yes, this is mine, I need to do this.
A. Pichugin
– You already felt it when you were five years old?
E. Karelina
– You see, yes, I remember this feeling that I was simply shocked by what I heard and saw. And for me this, it struck me so much that I wanted to do it. That is, at first, when I did not yet understand that there were some professions, like mine now, related to folklore, I thought that I would become some kind of archaeologist.
A. Pichugin
- ABOUT! Listen, I also dreamed of becoming an archaeologist. Well, I even go on archaeological expeditions.
E. Karelina
- Yes. That is, I really wanted to always do it at that time. I thought yes, this is mine. And then, when I began to get more and more familiar with this, I came to the so-called parties, which are always held, yes, by folklorists...
A. Pichugin
-What is this?
E. Karelina
- Evenings, that is...
A. Pichugin
- “Evening Moscow” newspaper, I know, it is also called “Evening Moscow”.
E. Karelina
– Of course, as you understand, they are held in the evening. And from time immemorial, parties used to be held, this is when, for example, in some hut, young people would gather, actually sing, dance, and play various traditional games. Actually, that’s why such parties were held - for dating, that is, where else. Now we can meet in clubs, like modern youth, somewhere else, in restaurants. And before, in one village, young people would unite like this to get acquainted, and then get married, and then a family would be formed.
A. Pichugin
- Well, yes, a lonely accordion wanders around on a bench in the evening.
E. Karelina
“The party had a very good influence on the lives of young people.
A. Pichugin
– So, getting back to the personal. Do you have a musical education?
E. Karelina
– Yes, that is, I am from Omsk myself, a Siberian. I graduated from school and institute there. Moved to Moscow.
A. Pichugin
– And all in some kind of music class?
E. Karelina
– Conductor of the folk choir.
A. Pichugin
- Yeah, I see.
E. Karelina
- Yes. And in fact, this is how my whole life began to be connected with this Russian folklore. And I fell in love with him, it turns out, like this for the rest of my life, I think. And in fact, I came to RUDN University quite by accident, on the advice that there was a so-called interclub there, where there were various...
A. Pichugin
– Well, as I understand it, there are guys from different countries studying there?
E. Karelina
- Of course, yes. The whole point is that I actually run such a folklore studio, on my initiative we somehow created it, which will be with just such a Russian folk bias, folklore. And everyone, that is, foreign guys, students, can calmly come to me, and we will learn with them, get acquainted with this Russian culture of ours. And in RUDN University, it seems to me, this is very relevant, since different countries and different folklore are represented.
A. Pichugin
– Are they still represented? Because I had the impression - a number of my friends studied with me, some work at the Peoples' Friendship University - that this is its international component, it is slowly fading into the background, because there are a lot of Russian students. Well, it is slowly becoming such an ordinary Moscow large university.
E. Karelina
- Well, I think I don’t agree with you...
A. Pichugin
- No? Well, you know better from the inside, this is my external idea.
E. Karelina
– On the contrary, always foreigners, foreign students somehow they try to show and give them the opportunity to express themselves, there are various fraternities, yes, associations of guys from different countries, and somehow there is always support. And recently RUDN University went to Unesco, to Paris, we represented the university there. And actually in concert program The numbers of foreign students were mainly presented.
A. Pichugin
– Can we mainly talk about which countries your interstudios are in, which countries the guys are from? Or is it so truly everywhere that it’s difficult to isolate?
E. Karelina
– Precisely in “Krapiva”?
A. Pichugin
- In “Nettle”.
E. Karelina
– Well, mostly, of course, guys from Russia after all.
A. Pichugin
- Oh, yes? And you say interstudio.
E. Karelina
– Well, I’m talking about the interclub in general, there are also various studios where students from different countries go. But of course, still, probably, even before the advent of the folklore studio, my guys from Russia still lacked their own, so dear. When the studio opened, they gladly came to me - girls, boys - because, after all, yes, you can’t put yours anywhere, yes, in your soul you always want to sing so that your soul can unfold. But for foreign kids, this is something of a curiosity, so it brings some interest, curiosity: maybe it will work out, maybe it won’t work out.
A. Pichugin
– I want to see students from Guinea-Bissau who sing “Oh, it’s not evening.”
E. Karelina
- Well, this is interesting.
A. Pichugin
- For sure. Also in Russian folk costumes.
E. Karelina
– Yes, there is also a studio and a dance room there, where Russian folk dances are performed. And everything looks very colorful, interesting and, of course, so funny, even at times.
A. Pichugin
– Did you create this studio “Nettle” yourself? Or have you already arrived, did it exist?
E. Karelina
– No, on my initiative they created, that is, a folklore one. There are many studios of different directions, but there was none like this one. And so the director supported me, the management supported me, and that’s how we somehow began our path.
A. Pichugin
- Let's continue after we listen to the song. What are we going to listen to now and whose is it?
E. Karelina
– Let’s listen to “Solstice” - a trio from the city of Yekaterinburg. “Wide Street” is a round dance song of the Bryansk region.
A. Pichugin
- So. Here, look at the geographical assortment at once: the trio “Solstice” from the Sverdlovsk region sing a Bryansk song. What is your relationship to them?
E. Karelina
“I just really like her.”
A. Pichugin
- Oh, well, let's listen then.
A. Pichugin
– Let me remind you, dear listeners, that our guest today is Katerina Karelina. Katerina runs the folklore studio “Nettle” at the interclub of the Peoples' Friendship University of Russia, RUDN University. And she is also a folk singing teacher at the “Undiscovered Islands” House of Creativity. Which interesting name: “Undiscovered islands” sounds beautiful.
E. Karelina
A. Pichugin
– Before the broadcast, you said that this House of Creativity is located in Mitino.
E. Karelina
- Yes, that's right.
A. Pichugin
– In general, now we have, I see, even some kind of renaissance of the Houses of Creativity, Houses of Culture. And for a long time there were none at all. I only remember from childhood, they took me to draw, English and something else in the House of Scientists. And now I look, a lot. It's for kids or not for kids.
E. Karelina
- Yes, of course, it is being reborn.
A. Pichugin
- What kind of kids are they?
E. Karelina
- Oh, mine?
A. Pichugin
- Yes, here in “Undiscovered Islands”.
E. Karelina
– I have a folklore studio “Grushitsa”.
A. Pichugin
- Is it called “Grushitsa”? Beautiful name.
E. Karelina
– Yes, and children who live nearby go there, since this is such a large area of Mitino. Now it is growing, and there are many new young families, new houses. And in fact, they somehow want to attract children to something so good and interesting so that they develop. And these are the “Islands”, that is, “Undiscovered Islands”, there are just four islands there. And they are located in different...
A. Pichugin
– Well, what is the difference in creativity between what you do at RUDN University and what you do at “Undiscovered Islands”? I understand that ages are completely different. How old do you say the kids from the “Islands” are?
E. Karelina
- There starting from three...
A. Pichugin
E. Karelina
– And ending at 12.
A. Pichugin
– Well, it’s clear that the repertoire is completely different.
E. Karelina
– Well, yes, there are different groups, that is, different ensembles. And at RUDN there are students...
A. Pichugin
- It's clear.
E. Karelina
– Adults are already people. And actually, if in “Undiscovered Islands” I do such traditional vocals, that is, I give voice to children, I put on voices using traditional methods, we learn children’s repertoire, we sing, we perform at concert competitions, then at RUDN University I probably still have more in this regard, creativity, some kind of freedom. That is, the young students who come to me have probably never encountered such singing, and have not sung, and have not even studied vocals. Actually, here is such a field for creativity, for new ideas. And everyone comes to me like this - in fact, I am very grateful to all my students - very ideological, ready for some experiments.
A. Pichugin
- Are there many of them?
E. Karelina
– Well, now, I think that probably not such a large number.
A. Pichugin
– How long has the studio been in existence?
E. Karelina
A. Pichugin
- Year. I don’t even know if this is a lot or a little by the standards of a university studio?
E. Karelina
– Well, there are studios there that have existed for 45 years.
A. Pichugin
- Well, you see.
E. Karelina
- Yes, we are still young. And everyone, when they ask why we are “Nettle”, yes...
A. Pichugin
– Why “Nettle”, by the way?
E. Karelina
– We say that, firstly, youth is somehow associated with greenery, yes. That is, we are young, as green as nettles, one might say. Secondly...
A. Pichugin
– People are usually afraid of nettles.
E. Karelina
- Yes, and we always say that we are very fiery...
A. Pichugin
- Ambitious.
E. Karelina
– Yes, ambitious, bright, juicy, like greenery. And in fact, in all this, our character of such creativity is manifested - that is, we, like nettles, are ready to burn, but at the same time, they are useful nettles, you know, from them...
A. Pichugin
- Well, of course, I know, as a child my grandmother always made something from nettles.
E. Karelina
– And that’s why we are useful, we still bring, I don’t know, I believe, I think, in people, here at the Russian Peoples’ Friendship University for foreigners we bring this traditional Russian folk culture to the masses, we educate, we somehow tell...
A. Pichugin
– So you say, you have mostly Russian guys.
E. Karelina
- Yes, well, actually, we are with the Russians...
A. Pichugin
– Oh, and in this way you educate students from other countries who study at RUDN University.
E. Karelina
- Yes, the students are looking at us.
A. Pichugin
– How many people do you have in the studio?
E. Karelina
- Ten.
A. Pichugin
- Ten people. Are these all people who study at RUDN, or can anyone come to you from the street?
E. Karelina
- Well, actually, it’s not forbidden to come from the street, but...
A. Pichugin
- Well, maybe one of our listeners will want it, it will become interesting.
E. Karelina
- Yes, come, I know that you already want it.
A. Pichugin
- Yes, quite. I was just kicked out of 1st grade at a music school once upon a time, maybe...
E. Karelina
- Great.
A. Pichugin
– Tell me, please, are there any recordings of your wards and you too, and what you do in “Nettle”?
E. Karelina
– There is a recording, yes, of the ensemble itself.
A. Pichugin
– Ensemble “Nettle”, actually. Can we listen to this?
E. Karelina
- We can.
A. Pichugin
- Here. And this fragment, I want to say, rocks, yes. Is this how you interpret folklore?
E. Karelina
– We somehow decided that we needed to move in this direction, to combine the incompatible.
A. Pichugin
– Why incompatible? It seems to me that many people successfully combine some folk things with modern ones. Well, as with modern ones, well, yes, with the same rhythm.
E. Karelina
– A DJ set, yes. Well, this is actually very relevant now. Well, just within the walls of, say, the RUDN University, yes, for some it’s so interesting, how is this even possible.
A. Pichugin
– Do you remember the group “Ivan Kupala”?
E. Karelina
- Well, it exists, yes. They also do a lot of these things.
A. Pichugin
– And there was a group called “Baba Yaga”, I remember, you probably remember too.
E. Karelina
A. Pichugin
– The Hungarian rock band and our Russian folk choir, which in general folk songs, but only in the rock and roll style it was all.
E. Karelina
– Well, you just understand, a student came from Africa, and then he heard, for example, this song of ours performed in this way, and of course, for him it’s something new and interesting. Maybe he once heard, even his parents told him there, and he was just interested in the fact that such Russian folklore exists...
A. Pichugin
- Well, it’s unlikely that he somewhere in distant Nigeria knew about this.
E. Karelina
– Perhaps, yes, I never listened. But in this way we introduced him to such a wonderful song, and at the same time he liked it, because there was such a beat.
A. Pichugin
– Have you ever thought of combining some musical component from, let’s say absolutely, Nigeria, with a Russian folk text?
E. Karelina
– Yes, we constantly have this kind of creative search, a lot of ideas and plans in this regard. Because it can be combined with drums and with different instruments. We are trying it all, it’s all in progress.
A. Pichugin
– And this is very cool, I think.
E. Karelina
- Very, yes, great.
A. Pichugin
– Do you have concerts?
E. Karelina
- Here we are planning. Since we are still young after all, we are only a year old, I think we have grown very well this year, this is how we found each other, first of all. Those students came who are now my kind...
A. Pichugin
- Students? Only girls?
E. Karelina
– No, there are some students, but they’re just mostly girls. And just like that, we somehow united and found each other. Got it. in what mood and generally in what direction to move. And now we will all little by little implement this and make some notes. It's not that fast, it's not that easy, but we're trying.
A. Pichugin
- So, what are we listening to?
E. Karelina
– Let’s listen to Vasilisa Veterok.
A. Pichugin
– What is this, who is Vasilisa?
E. Karelina
– This is a song again, which I really like, “Oh, you are my eagle.”
A. Pichugin
- OK. So, we will listen to the program today at Katerina’s request. Let me remind you that our guest today is Katerina Karelina, she runs the folklore studio “Nettle” at the interclub of the Peoples' Friendship University of Russia. Katerina is also a folk singing teacher at the Undiscovered Islands House of Creativity. I'm Alexey Pichugin. We listen to the song, take a short break, and a few minutes later we meet again in this studio. Don't go anywhere.
A. Pichugin
– We return to the light radio studio. Let me remind you that Ekaterina Karelina is here with you today. Ekaterina runs the folklore studio “Nettle” at the interclub of the Peoples' Friendship University of Russia, PFUR. And Ekaterina is also a folk singing teacher at the “Undiscovered Islands” House of Creativity. I continue to be touched by the name “Undiscovered Islands” - I really like it. Besides everything else, as far as I know, you also teach Sunday school.
E. Karelina
A. Pichugin
- That's how much it is. Moreover, in Sunday school, our regular listeners probably know this place: we have one of probably the most frequent guest priests of our “Bright Evening” program, Father Dmitry Kuvyrtalov, rector of the Church of the Archangel Michael in Letov. This is New Moscow along the Kaluga Highway not far from the Moscow Ring Road. There is a Sunday school there, which I didn’t know about or forgot about.
E. Karelina
– We have it, yes.
A. Pichugin
– Katerina teaches at this Sunday school. Please tell me. After all, as I understand it, your teaching in Sunday school is also connected with folklore.
E. Karelina
- Yes. But this is probably not even teaching anymore, it’s something like an amateur club, you can even call it, where children go, somehow even adults went, but then the adults have little time there, they have small children, and they don't have time. But for a year now, it turns out, this ensemble has existed. And now you will also be glad to have this name, because we are called “ kind soul».
A. Pichugin
- “Kind soul.” Well, “Kind Soul”... Here are “Undiscovered Islands”!
E. Karelina
- Well, no, in fact, it’s a very name that really, it seems to me, gives us such strength, unites us with the children. And we are really becoming so huge, big, real Russian kind soul. Actually, there, in this ensemble, I have children who come to church on Sunday for services. And after the service, we gather in the office and learn various Russian folk songs.
A. Pichugin
– Where do you perform with the children who are in Sunday school?
E. Karelina
– Directly in Sunday school, of course, we perform at various holidays and fairs. And so they performed at a festival dedicated to the Day Slavic writing, called “Slavic Gift”. We performed there, our first such performance was a serious one, a competition. And we are actually waiting for the results.
A. Pichugin
- Great. Well, let's listen to another musical fragment. What will it be?
E. Karelina
- It will be folklore ensemble“Between” is called “On the Blue Sea.”
A. Pichugin
– The fragment was heard, and I immediately have a question. Do you somehow, well, besides doing this in Moscow, go on some folklore expeditions to villages, communicate with representatives of this, in fact, direction that you represent?
E. Karelina
– You know, it seems to me that I would love to do this, but my schedule is such a work one, touring...
A. Pichugin
- Well, I understand very much, yes, judging by the three places...
E. Karelina
– It doesn’t allow me to somehow go to the village and communicate directly with the native speakers, but I would really like to. It's always interesting, of course. I did this a couple of times as a child. That is, we communicated, and even sang songs to us, and we recorded them. And they gave some of their old things. It was very interesting. And so I would love to do the same now, but somehow Moscow life, the Moscow rhythm does not allow me to break out into some village like that.
A. Pichugin
– And as far as I understand, you study the song traditions of different regions of Russia in general. And how does this happen without visiting the place, without communicating with, relatively speaking, grandmothers?
E. Karelina
– Well, let’s just say, I’ve probably already studied more. Now I’m not studying, now I’m already putting it into practice.
A. Pichugin
- It's clear. How did you study it? That's when we went, right? Which regions come first? The Omsk region is probably my homeland.
E. Karelina
- Well, of course. My favorite tradition is the Siberian tradition of the old-timers, which I actually studied during the time when I studied at Omsk music school. Even teachers who are well versed in this Siberian tradition, Olesya Gennadievna Sidorskaya, Yulia Aleksandrovna Parfenova and Victoria Yuryevna Bagrintseva, instilled it. And you know, Olesya Gennadievna once told me something that I remembered for the rest of my life and now, in fact, I understand it. That is, she told all of us, guys, that enjoy yourself now, that you are singing the Siberian tradition, enjoy this time. Because indeed the Siberian tradition is very rich and interesting; nowhere else they sing like they do in Siberia. And we sang mostly, yes, various such works, Siberian songs. Because after some time you will disperse to different cities, perhaps you will engage in some kind of pedagogical activity there, and you will no longer sing about Siberia. And I realize this now when I arrived in Moscow, when I teach children and students. Of course, I take some Siberian things with pleasure and quite often, but I still want to introduce different traditions, and there are such basic ones, there are seven of them by region, and therefore he wants to take that song and that beautiful one and sing it. But Siberia still doesn’t have much to eat. I love Siberia very much, I always remember these traditions, this traditional singing.
A. Pichugin
– And besides Siberia... Well, I understand that in Siberia, of course, all this was better preserved. By the way, it’s not even entirely clear why it was preserved there, but here it’s not that they forgot, now we were listening to a fragment of a small group from the Tver region. As I understand it, the songs themselves also took shape there, and these are some kind of traditions going on, passed on from generation to generation in the villages of the Tver region, some part of it. But in Siberia it really is better preserved. What can you relate this to?
E. Karelina
- Oh, you know, it probably affects a lot of things. Firstly, and some various wars, when they were, they also had a great influence. There were a lot of immigrants, in fact, in Siberia it was preserved even more due to the fact that yes, after all, there were a lot of immigrants there - both Belarus and Ukraine influenced there, and from some other regions. That is, it all became so saturated, accumulated, that the tradition became so straightforward, well, already complex, fundamental. And it was very difficult to somehow lose it, destroy it. And... I don’t even know.
A. Pichugin
- Well, you see, it turns out interesting. I always give this example when it comes to folklore, you know the story of Ilya Muromets, right?
E. Karelina
A. Pichugin
- The fact that nowhere are these Russian epics, which we now perceive as rooted, which passed there in huge numbers - well, this, by the way, confirms the correctness of your words - lived through the centuries, about Ilya Muromets, about Dobrynya Nikitich, about Alyosha Popovich, it would seem that they have reached us over thousands of years, even more from Medieval Rus'. But in fact, they were found for the first time in the 19th century in the Arkhangelsk province. Well, you probably know, I’m already telling my listeners this. In the Arkhangelsk province, but for some reason in others, in Kyiv, here in Russia, this, even in Murom this is all the revival and restoration of traditions, and no one there knew or remembered about Ilya Muromets . And for sure, yes, this is precisely because the difficult tragic events of different centuries, yes, this Tatar-Mongol invasion, which has already crowded out much of the people's memory. These are the wars of the time of Ivan the Terrible, and subsequent events. Yes, this affected Siberia to a much lesser extent. But in general, besides Siberia, do you somehow have to communicate, find, hear some folklore things from other regions? Well, we listened to the Tver region, but besides this?
E. Karelina
- Of course, yes. And directly I always listen to some different songs from different regions, I like it. There are very rich traditions - Central Russian traditions, and some southern, and Cossack traditions, that is, they are always to everyone’s liking. I really love it when I'm on tour somewhere. Just recently we went with “Nettle” to the city of Uryupinsk, where the Cossacks themselves, yes, were there, and got acquainted with their creativity, with their folklore. There was a wonderful ensemble there, “Ataman,” who performed their songs, and we even learned some of their songs. And it was all so interesting. And then, for example, I sang some of my Siberian songs. And this is so different, but still it is united by some kind of love for this Russian traditional song.
A. Pichugin
– So, “The Sea of Life”, as I understand it, is the “Sirin” ensemble, well known to us, generally well known in Russia. These are Nekrasov Cossacks, right?
E. Karelina
- Yes, the chant of the Nekrasov Cossacks.
A. Pichugin
- The chant of the Nekrasov Cossacks. Very interesting, it’s all Old Believer. Let's listen.
A. Pichugin
– Let me remind you that Katerina Karelina is visiting Radio Vera. Katerina runs the folklore studio “Nettle” at the interclub of the Peoples' Friendship University of Russia. And Katerina is also a folk singing teacher at the “Undiscovered Islands” House of Creativity. Listen, such a beautiful song just sounded, I sat there enjoying every second while it was playing. Ensemble "Sirin". I think that all our listeners, and indeed in Russia in general, he is so famous, Andrei Kotov is his founder. And the song “The Sea of Life,” this chant of the Nekrasov Cossacks, the Old Believers, sounded very beautiful just now. We also wanted to talk to you about the stereotypes that are now in society regarding folklore and folk traditions. At the beginning of the program, we talked about how fashionable it is, about the fact that now any girl in Moscow is already something like that, it has even become a hipster thing, excuse the hackneyed word. All these folk sundresses in the summer - linen, natural fabrics, it's all cool and healthy. But all the same, apparently, since the 90s, there remains some kind of urban snobbery in relation to folk art: they say, well, it’s the grandmothers in the village who sing, well, yes, I went to the dacha there as a child, they sing they sat and sang on the bench. Is there such a thing?
E. Karelina
- Eat. Without a doubt.
A. Pichugin
- But yes, Katerina is sitting, modern girl, which deals with folklore.
E. Karelina
- Yes. By the way, when I start singing or doing something like that, everyone is very surprised why I look like this, but I sing like this...
A. Pichugin
-Where is the kokoshnik?
E. Karelina
- Yes, yes! You just said about the most important, probably, stereotype in Russia and generally abroad, that if this is Russian folk art, Russian folk costume, then this is certainly a kokoshnik up to the ceiling.
A. Pichugin
- So I have a lot good friend, a former colleague with whom we hosted programs there many years ago on other radio stations. When she heard something like this, Russian folk, she said: Pichugin, I can just feel how my kokoshnik is sprouting.
E. Karelina
– Yes, yes, well, unfortunately, this is so. And it probably started from Soviet times only later, when such Russians appeared folk choirs, where girls, grandmothers, women put on a kokoshnik. And this is completely wrong. And even recently, in fact, I have an ensemble, when we perform, we put on suits and sometimes we put on scarves, and we tie them like this in the front. And one man somehow came up to us and said: why are we wearing scarves?
A. Pichugin
-Where is the kokoshnik?
E. Karelina
- Terrible! You look like old women, it doesn’t suit you! And they didn’t wear it like that at all. Did they wear headscarves before? Only worn by married women. And this is actually wrong and untrue.
A. Pichugin
-Who wore it?
E. Karelina
- Naturally, they were worn by women. But they wore the scarf in a completely different way. And actually, under the scarf, they could still have a headdress, the so-called magpies, warriors...
A. Pichugin
-What is this? Once you say it, please explain
E. Karelina
– The kind of hats that I could already afford to wear married woman. Under this warrior, for example, she tied two braids. Because when the girl was still unmarried, she was allowed to wear one braid with ribbons.
A. Pichugin
- Oh, that's what it is! I just opened the Internet. And the first thing, by the way, that the search engine gives is: warrior - buy. That is, it’s probably all still there.
E. Karelina
- Well, yes, of course, they produce and sew all this. But actually a married woman could wear a warrior. She had two braids on her head, she folded everything under this warrior, and then put on a scarf on top. And she tied it so that no hair or anything was visible. That is, it was immediately possible to distinguish that she was married. And young girls could wear a headscarf when, for example, they went to haymaking or worked in the fields. The sun is shining, of course, now we put on a cap, a panama hat, and so the girls put on a headscarf. And in the second case, when the girls put on a scarf, it was when, well, let’s say, the father brought a scarf from some other province, from another region, it was embroidered, interesting, but in our village there is no such thing. Why don’t I wear it to the party, when I go to show myself to my future grooms, the groom, I’ll be so beautiful in a scarf. It was actually a decoration even for a girl. And there should be no opinion that grandmothers only wore it.
A. Pichugin
– Well, I partly understand, I don’t share, but I understand the origins and roots of this snobbery that we are talking about. Because in the 90s it was quite vulgarized. All Moscow city holidays, city days, some other general public events, not one of them was complete without people there in colorful dresses, scarves, sundresses, all this is completely out of different styles, they did round dances and so on - wow, there’s something there, and the peasants with an accordion danced with the bear. Well, it really looked very vulgar, and that’s where, apparently, this attitude partially came from.
E. Karelina
- Well, yes. I’m already saying this, this is Soviet times. And in fact, when some grandmothers or older women say that oh, young people don’t remember their roots, don’t remember our culture, and so on, sometimes I want to ask them like this, what about you? remember? For that matter, they remember the Soviet times, when they stood in these kokoshniks, these belted dresses, and sang all sorts of “Kalinka-Malinka.” It's not bad, it's...
A. Pichugin
- But no one remembers. In fact, I come to the conclusion that this is truly what it looks like even in the 18th century. Maybe now, of course, it is possible to reconstruct it, although I don’t know how or on what basis. I just remember the episode when Nicholas Roerich, who then, naturally, left, yes, his entire Eastern history began, and at the beginning of the 20th century he was very interested - this is a well-known fact - in Russian folk culture, and he traveled around the Ivanovo region - then , sorry, there was no Ivanovo region, I was traveling through the Vladimir province. And he was looking for a traditional Russian costume for a very long time, because it was no longer available anywhere by that time, this is 1903, excuse me for a second. And they told him that there is one village that is located a little further, in the distance. There, in the chests somewhere, according to rumors, local residents preserved. And he went to this village, the village was called Torki, but even there he found nothing. This is a very good indicator. Maybe it’s not like that in Siberia, I don’t know. But in the provinces surrounding Moscow, all this disappeared there already at the beginning of the 20th century. And what we see, again, yes, if we look for the origins of this snobbery, this is probably such a vulgar reconstruction, because we cannot imagine how it could be.
E. Karelina
- Well, perhaps I agree with you. But even the bearers of the tradition themselves, some grandmothers in the villages right there, firstly, they lived and lived, here they are, she embroidered a shirt for her wedding, then she wore it there for many years. Well, it’s like it’s just an ordinary shirt for her. And at the same time it is richly embroidered, richly made in general. And once they even told me such cases: expeditions arrived, yes, they entered the house, but such an embroidered shirt was lying with rags on the floor. And actually for grandma she doesn’t mean anything like that anymore.
A. Pichugin
- A rag is a rag.
E. Karelina
- Yes, it was a common thing for her, regular clothes. But now, yes, we attach such great importance to this. And now there are very few places where you can find some such valuable things in the villages. Because at some point, even the same grandmothers realized that you can make good money on this, yes, why an extra penny... That is, ethnologists are looking for these clothes, for them it is very valuable. Once upon a time they simply gave it away as a gift, but then they started selling it. And now it costs so much money.
A. Pichugin
- Well, then, look, after all, in Soviet times they worked on collective farms, in villages, they wore clothes, well, obviously not some very popular clothes, but what could be found somewhere in the regional center. And we will be finishing our program, unfortunately, time is up. Very nice, Katerina Karelina, head of the folklore studio “Nettle” at the interclub of the Peoples’ Friendship University of Russia, teacher of folklore singing at the House of Creativity “Undiscovered Islands”. Thank you very much for visiting us today.
E. Karelina
- Thank you.
A. Pichugin
- Let's listen to the song one last time. Which one?
E. Karelina
– We will listen to the Omsk ensemble, it’s called “Bereginya”. “You are a wormwood.” Performed, by the way, by my teachers.
A. Pichugin
- Well, that’s great. And with this we will complete our program. Thanks a lot. Katerina Karelina, I am Alexey Pichugin, we say goodbye to you. Best wishes. And be healthy.
UDC 8G282.2
MODERN CHILDREN'S FOLKLORE: FEATURES OF EXISTENCE
Arkhipova Nina Gennadievna Ph.D. Philol. n.,
Associate Professor, Department of Russian Language, Amur State University,
Blagovegtsensk
Email: [email protected]
Anastasia Pavlova, 4th year student of the Faculty of Philology, Amur State University, Blagovegtsensk
KEY WORDS: transitional dialects, folklore, children's folklore,
thematic classification, linguistic features.
ABSTRACT: The article examines the thematic and linguistic features of children's folklore as a special type of folk culture, which plays a vital role in the formation and development of personality, mastering the spiritual values of previous generations, which ensures the continuity and preservation of the spiritual image of the people
Children's folklore - special kind folk culture, which plays a vital role in the formation and development of the individual, the development of the spiritual values of previous generations, which ensures the continuity and preservation of the spiritual image of the people. Children's folklore offers the child verbal and poetic means developed over time, necessary for expression in artistic form a special, childish vision of the world generated by age-related mental characteristics. These features and the resulting forms of interaction with the outside world, with peers and adults change extremely significantly as the child develops from birth to adolescence. That’s why the region is so rich and unique. folk art associated with the world of childhood.
The life of every child is unusually intense. With her interests and needs, she is connected with the equally multifaceted life of her peers and adults. According to the special purpose in the lives of children who have left infancy, genre cycles within children's folklore proper are determined: children's folk calendar, children's play folklore, children's satire, everyday and legal sentences, “terrible and mysterious”; children's humorous folklore, children's riddles. Each of these cycles and the genres included in it uniquely builds the communication of children among themselves, the communication of different children's generations with each other, and ensures the continuity of cultural life stereotypes.
Despite significant social, cultural and historical changes in the history of the people and the life of modern society, real and artistic world childhood is characterized by some general patterns and qualities that are specific specifically to children’s culture as a phenomenon that is different from the culture of adults and at the same time connected with it by strong ties. This ensures continuity in the culture of the people, on the one hand; on the other hand, it brings new colors to it. Thus, children's folklore is a living, dynamic phenomenon.
Preschoolers and schoolchildren need special forms of relationships accepted in the children's team in play, in self-affirmation among comrades, older children and adults, in regulating emotions, desires, and impulses. All these emotional, ethical, aesthetic, social needs, like many centuries ago, in our time give rise to ever-living forms of children's culture - modern children's folklore. It may differ significantly from the forms of traditional children's oral poetic creativity, but its main, basic laws are still stable, universal, inevitable, just as the path from childhood to adulthood is stable and inevitable for every person. Children's culture helps to go along this path, to identify its main stages in inner world personality, provide external ways to consolidate the experience of children's life activities, build a bridge
between a person and society, between people, native language, traditional forms of life, values of folk culture.
The work presents texts from both traditional and, mainly, modern children's folklore (post-folklore). Since the 6070s. In the 20th century, post-folklore texts function more actively in the speech practice of children than traditional folklore texts. Based on the little development of the term “children’s post-folklore” in the scientific literature, we offer our interpretation based on observations of practical material.
Children's post-folklore is stable texts created by children on a traditional folk, literary or non-equivalent basis.
Thus, we exclude from children's post-folklore all works that are the work of adults intended for children, and consider only genres and texts created by children and passed on from one childish generation to another
The time of appearance of modern children's folklore is mainly the second half of the 20th - beginning of the 21st century, although the texts themselves are chronologically heterogeneous. Some of them have been passed down from generation to generation since the beginning of the 20th century, undergoing structural and semantic transformations (“Released bunny for a walk...", "A hedgehog came out of the fog...", "They were sitting on the golden porch"). Many rhymes are represented by numerous options. In particular, characters can be modernized in them. For example, the hedgehog from the rhyme “A hedgehog came out...” transforms into a German, and then into the young pop star Decl. Other texts appeared relatively recently (“There are cars in the garage”).
It is important to note that we include as children’s post-folklore any works of traditional folklore that have been modified by children and are stable in functioning, or transformed author’s literary texts.
The presented corpus of texts was collected in February - March 2004 from students in grades 1-10 of Secondary Secondary School. Upper Poltavka, Konstantinovsky district, Secondary Secondary School No. 11, Blagoveshchensk; in July 2004 in the villages of Zheltoyarovo and Zagan of the Svobodnensky district, Krasnoyarovo and Beloyarovo of the Mazanovsky district of the Amur region. There are rare facts of recording children's folklore from older people. The material was collected through a survey in the conditions of a folklore and dialectological expedition of employees of the laboratory of regional linguistics and students of the Faculty of Philology (recordings were made on audio media and subsequently transcribed).
In the collected material, the following genres of children's folklore can be distinguished: counting rhymes (the most numerous genre), poems (including converted literary works and secret poems), ditties, chants, little songs, games, songs, teasers, “jokes”, tricks, sayings, “challenges”.
The field notes are much more extensive than those included in the almanac. For ethical reasons, this did not include poems, some ditties and songs containing invective (expletive) language. The full corpus of texts can be found in the laboratory of regional linguistics of the Department of Russian Philology of Amur State University. Rough and reduced vocabulary is presented according to the initial and final letters (in some cases letter combinations) of words. Variant lexemes, phrases and sentences are presented in brackets with an * (asterisk) directly in the text.
COUNTERS
The most important place in Russian folk culture occupied and still occupies children's gaming folklore: gaming preludes (counting tables, drawing lots) and games different types(including verbal, sports, with choruses and sentences).
Play activity has several levels of organization. Sentence barkers gather children to participate in the game and invite them to play. Counting tables and draws distribute playing roles among the players. These are game preludes. Next comes the game itself with strictly defined rules.
As the works of G.S. Vinogradov show. and V.P. Anikin, the origin of the counting rhyme is connected with a type of ancient allegorical speech - with a secret counting. In ancient times, there was a ban on the direct counting of game caught by hunting, on the direct quantitative determination of the offspring of domestic animals and birds. But since it was necessary to know this, our ancestors invented a form of indirect recalculation, in which counting units were replaced by equivalents. These were quantitative and ordinal numbers that were sometimes changed beyond recognition. Some of them are reflected in modern counting rhymes: azi - one, dvazi - two, trizi - three, easy - four, heels - five, latam - six, shuma - seven, rum - eight, oak - nine, cross - ten (cross-shaped notch , denoting ten). Or: first - first-born, first-born; the second - friends, other people, etc.
One of the important artistic features of the counting rhyme is abstruseness, nonsense. Zaum represents words that were considered magical in the early stages of society. It could also arise as a result of listening to a foreign language text - educational or ritual, rhythmic for better memorization.
Unrecognized “adult” words can also turn into gibberish.
Another group of zaumi are the so-called paired words (aty-baty, chiki-briki, and so on), which transform a prosaic text into a poetic work, creating the impression of a harmonious rhyme.
G.S. Vinogradov divides counting material into three groups:
1) counters - numbers containing counting words or their abstruse equivalents;
2) abstruse rhymes, which consist entirely or partially of abstruse words;
3) replacement counting rhymes, in which there are no abstruse or counting words. These counting rhymes often end with an exit. Exit is a constructive final element of the overall composition, specific to the genre of counting rhymes. Its function is to definitely and accurately indicate the selected participant in the game.
While collecting texts of children's post-folklore, we came across the rhymes of all
the above types. So, for example, number counters:
One, two, three, four, five - The bunny went out for a walk,
And the hunter wants to shoot.
One, two, three, four - They taught me (the “cat”) to read and write:
The next group is abstruse rhymes:
Eni - beni, ricky - faki,
Turba - urba, synthbrucks,
Deuts, deuts, bam!
Atka-batka kochkatame,
Abl-fabl drumene,
And finally, replacement rhymes:
Tomorrow a blue - blue - blue whale will fly from the sky.
If you believe, stand and wait,
If you don't believe me, come out.
A hedgehog (German) came out of the fog,
He took the knife out of his pocket,
I will cut, I will beat,
Themes, images, plots also come from professional literature. For example, the well-known rhyme “One, two, three, four, five, the bunny went out for a walk...” belongs to a teacher, a teacher of literature, to the poet XIX V. F.B.Miller [cit. according to 2, p.46]. The original six lines that served as the caption to the picture were very popular with children, and now this rhyme has many versions containing the incredible adventures of the bunny.
For example:
One, two, three, four, five - the bunny went out for a walk,
Suddenly the hunter runs out and shoots straight at the bunny.
Bang-bang, oh-oh-oh, my little bunny is dying.
They took him to the hospital - he stole a mitten there,
They took him to the buffet - he stole a hundred grams of sweets,
They took him to the garage - he stole a pencil there,
They took him home - he turned out to be alive.
Counting rhymes are also characterized by an emphasized clear rhythm, sonorous rhyme, objectivity of the image, richness in verbs that carry dynamism in the sphere of events, and a variety of emotional shades in motives, images, and situations.
Developing, varying, changing form and content, the game is still alive. Now the repertoire of children's play folklore has changed significantly. This form of gaming prelude, such as drawing lots, has practically disappeared. But counting rhymes still retain their importance in the play routine of children of preschool and primary school age, although the active repertoire that each child performer owns is usually small: 10-20 texts. By the beginning of the 19th century. one can state the impoverishment of the counting repertoire as a whole. This is likely due to changes in the nature of games and the way hosts are selected.
it is a genre of counting rhymes, sometimes repeating the same text ad infinitum
or performing new ones. The most popular counting rhyme of the last decade
is a modified version of the old text “On the Golden Porch
sat..." IN modern version of this work appear
Disney cartoon characters. Penetration of new images into
traditional genres and texts are also typical for other varieties
children's folklore, actively absorbing everything new,
corresponding to the interests of the modern child. So, during the period of appearance
the first television series appear in a variety of genres of children's folklore
“slave Isaura”, “just Maria”, heroes of “Santa Barbara”. Nose
With the increase in the number of television series, their influence on the mass public is lost.
consciousness and images gradually disappear from children's folklore. There's more in this
one feature of the recent oral children's repertoire.
All characters in the counting rhymes are people or anthropomorphic creatures.
Animals, unreal characters behave like people - they dance, swim,
knead flour, etc. They have not only physical, but also moral,
ethical, mental, speech and other characteristics.
The themes of the counting rhymes are varied. This could be a description of the usual
pastimes - characters sit, walk, jump, play and
perform other ordinary actions. However, in one counting room it may
fit in a whole story about the drama of life (“On a dark night, mosquitoes
bite..." or a story about the distant future ("Dyuba"),
Among the collected material there are rhymes that can
used for drawing lots and at the same time are games with clapping.
Each line of such counters corresponds to certain types of claps -
straight, cross, etc.
Bom - bom - bom,
The album opens.
On Sunday, on Sunday
Twenty-fifth
The Germans jumped from the balcony,
From the second floor.
The first one jumped unsuccessfully
The second one broke his head
The third one jumped on the girl and kissed her,
But the girl couldn’t stand it,
Hit him with a poker,
She ran away and made a wish.
They can also be accompanied by various gestures corresponding to the words (for example, a cookie is shown with the word “never mind” / see counting rhyme No. 55/).
1. On the golden porch sat the Tsar, the prince, the king, the prince,
Shoemaker, tailor.
Who will you be? Speak quickly
(One, two, three - speak!)
2. On the golden porch sat the Tsar, the prince, the king, the prince,
Shoemaker, tailor, policeman, policeman.
Who will you be? Speak quickly
Don't detain good and honest people.
3. On the golden porch sat the Gummi Bears, Tom and Jerry,
Scrooge McDuck and the Three Ducklings (*Uncle Scrooge and the Three Ducklings),
Come out, you will be Ponca.
4. On the golden porch sat the Gammi Bears, Tom and Jerry,
Scrooge McDuck and the three ducklings
Come out, you will be Ponca.
(*Ponka got up and walked away,
It turned out e-run - yes!)
5. They sat on the golden porch,
We watched "Santa Barbara"
If Gina doesn't come,
Then Sisi will kill her.
6. Chiki - briki, throw out your finger.
7. Vadya-nevadya-vadya...
Everyone makes fists with their thumbs up, counting from below. Whose hand is on top is the one who leads.
8. The cuckoo walked past the forest,
And behind her are two dummies.
Cookies - poppies, cookies - poppies,
Remove one fist.
(* Cookies - poppies, cookies - poppies,
Come out, one fist.
*Kuk - poppy, kuk - poppy,
Remove one fist.
*Kuku-ma, kuku-ma,
Remove one fist.
*Chikuma, chikuma,
Remove one fist).
9. The cuckoo walked past the cage,
And behind her are evil children.
Kuku-ma, kuku-ma,
Remove one fist.
10. The cuckoo walked past the garden,
I pecked all the seedlings.
Kuku-ma, kuku-ma,
Remove one fist.
11. The cuckoo walked past the oak tree,
And behind her are two butuzs,
Kuku-ma, kuku-ma,
Remove one fist
12. A cuckoo walked past the forest for some interest,
Inte, inte, interest,
Exit on the letter S.
13. The squirrel jumped, jumped,
And I didn’t get on the branch,
And I got into cat house,
Get out of the circle!
14. The squirrel jumped, jumped,
And I didn’t get on the branch,
And it got into the cat's mouth,
Come out quickly, freak.
15. The counting begins:
On the oak tree there is a starling and a jackdaw,
The starling flew home
And the countdown ends.
16. A hedgehog (*German) came out of the fog,
He took the knife out of his pocket,
I will cut, I will beat,
You still have to drive (*naked).
17. Decl came out of the fog,
He took the pager out of his pocket,
The pager beeped and died,
Get out of the circle, you sucker!
(*The pager beeped, Decl died;
Because Decl is a sucker).
18. Decl came out of the fog,
He took the pager out of his pocket,
Decl made a sound, ate all the fleas,
That's why I died.
(*That's why he died).
19. The bees flew into the field,
They buzzed, they buzzed,
If the bees are on the flowers,
We play - you drive!
20. Cockerel - cockerel, show me your comb.
The comb is burning with fire, how many feathers are on it, One, two, three, four, five - it’s impossible to count!
21. Two bears were sitting on a thin branch,
One was reading the newspaper, the other was kneading flour.
One peek-a-boo, two peek-a-boo - they both fell into the flour. (*Tail in flour, nose in flour, ear in sour milk).
22. A crocodile walked, smoked a pipe,
The receiver fell and wrote: “Shishel-myshel, p...ul, out.” (*“Chiki-briki, throw out your finger”),
23. Mouse - mouse, long tail, Don't hide deep.
The cat invites you to visit
Drink fresh milk.
The mouse in the hole squeaked:
“Let him look for the eccentric!
I took out a crumb of lard - I’ll do without milk.”
Why are you hiding, little coward? Get out of your hole,
Let's play cat and mouse:
The mouse is you, and the cat is he!
24. Eniki - beniks ate dumplings, Eniki - beniks, kroez (*dumpling; *bread), The sailor came out.
(*The pot-bellied sailor came out).
25. Eniki - beniks ate dumplings Enik fell, benik disappeared.
26. Aty - baty, the soldiers were walking,
Aty-baht, to the market,
What did you buy?
Aty - baht, samovar.
Aty - baht, how much does it cost?
Aty - baht, three rubles,
Who's coming out?
Aty - baty, you and me.
(*Aty - baht, how much is it?
Aty - baht, not a penny).
(*Aty - baht, who’s coming out?
Aty-baty, it’s me).
27. The cowardly bunny runs across the field,
Ran into the garden
I found cabbage
I found a carrot
Sits, chews,
The owner is coming.
28. A goat walked along the bridge and wagged its tail. I got caught on the railing and landed straight in the river... Who doesn’t believe it? It's him! Get out of the circle! (*Whoever doesn’t believe it, let him check it!)
29. One, two, three, four - Let's count the holes in the cheese,
If the cheese has a lot of holes,
So it will be delicious cheese,
If there is one hole in the cheese,
So it was delicious yesterday.
30. Behind the glass doors there is a bear with pies.
Hello, my friend Bear,
How much does a pie cost?
(*- A pie costs three,
And you will be the one to drive.
(*A pie costs five,
And you should drive again).
31. The baby squirrels came to the meadow,
Bear cubs, badgers.
To the green meadow Come too, my friend!
35. One, two, three, four, five - The bunny went out for a walk,
And the hunter wants to shoot.
Bang bang, didn't hit - The gray bunny galloped away.
36. One, two, three, four, five - The bunny went out for a walk,
Suddenly the hunter runs out,
He shoots straight at the bunny.
Bang-bang (*bang-bang), oh - oh - oh,
My little bunny is dying.
37. One, two, three, four, five - The bunny went out for a walk.
Suddenly the hunter runs out,
He shoots straight at the bunny.
Pih - groin, oh - oh - oh,
My little bunny rolled.
They took him to the hospital
He stole a mitten there,
They took him home
He turned out to be alive.
38. One, two, three, four, five - The bunny went out for a walk,
Suddenly the hunter runs out,
He shoots straight at the bunny.
Bang bang, oh - oh - oh,
My little bunny is dying.
They took him to the hospital
He stole a mitten there,
They took him to the buffet,
He stole a hundred grams of sweets
They took him to the garage,
He stole a pencil there
They took him home
He turned out to be alive.
39. One, two, three, four, five - The bunny went out for a walk,
Suddenly the hunter runs out,
He shoots straight at the bunny.
Bang bang, oh - oh - oh,
My little bunny is dying.
They took him to the hospital
He stole a mitten there,
They took him to the buffet,
He stole a hundred sweets there (*They took him to the buffet,
He stole a hundred grams (*bag) of sweets), They took him home,
Head straight into the stove
And from the stove to the pot,
The result was a pie.
40. One, two, three, four, five - The bunny went out for a walk,
Suddenly the fox runs out,
The hare takes aim, shoots - Bang-bang, oh - oh - oh,
The fox won't come home.
41. A man was driving along the road, he broke a wheel on the road, how many nails?
Speak quickly
Don't overthink it.
42. Come on, jump ropes, faster, Let's run out more fun.
Count your jumps, If you get caught, fly out!
43. I will go into the dense forest, I will find a gray hare,
I'll bring it home
This bunny will be mine.
44. Among the white doves, a nimble sparrow gallops. Little sparrow - little bird,
Gray shirt.
Respond, sparrow, fly out, don’t be shy.
45. Tomorrow a blue - blue - blue whale will fly from the sky. If you believe, stand and wait,
If you don't believe me, come out.
46. Tili-bom, tili-bom,
The bunny hit a pine tree with his forehead. I feel sorry for the bunny
The bunny wears a cone. Hurry up and run into the forest, give the bunny a compress.
47. Inte, inte, interest - Come out with the letter “C”.
48. A car was driving dark forest For some interest,
Inte, inte, interest,
Come out, you idiot. (*Exit with the letter “S”),
49. The car was walking through a dark forest
For some interest.
Inte, inte, interest,
Exit on the letter "S".
The letter "C" didn't fit
Exit on the letter "A".
50. The car was driving through a dark forest for some kind of interest,
Inte, inte, interest - Come out with the letter “C”.
We don't need the letter "C"
But we need the letter “A”.
And on the letter there is a star - Trains pass there.
If the train doesn't pass,
The passenger will go crazy.
So the train didn't pass,
The passenger went crazy.
51. The car was driving through a dark forest for some kind of interest.
I will cut, I will beat - You still have to drive.
52. Three knives flew from the second floor:
Red, blue, blue - Choose any one for yourself.
53. One, two, three, four Multiply by four,
Divide, divide by four,
That makes four.
54. On a dark night, mosquitoes bite,
The king and queen say goodbye on a bench.
The Tsar went abroad, and the Tsarina went to Leningrad. The Tsar bought himself wheat, and the Tsarina bought grapes. There were a lot of grapes, but not a lot of wheat.
The king was a little offended, and the queen: ha-ha-ha - Laughed until the morning and hanged the king.
The king hung, hung, hung and flew away into the trash heap,
And Boris, the chairman, lived in the trash heap dead rats And his wife, Larisa, is a wonderful rat,
(*And his wife Bandyura is a wonderful fool),
And their son Ivan is a wonderful idiot.
55. (*The twenty-fifth of April is the king’s birthday). The Germans jumped from the balcony, from the second floor.
And the girl ran away and made a wish.
(*And the fourth showed his cucumber at the end)
56. The Germans jumped from the balcony, from the second floor.
But the girl couldn’t stand it, she hit him with a poker,
The German couldn’t stand it either, he hit her with a poker,
And the girl ran away and made (*two) wishes.
57. Bom - bom - bom, the album opens.
On Sunday, Sunday the twenty-fifth, the Germans jumped from the balcony, from the second floor.
The first one jumped unsuccessfully, the second one broke his head, the third one jumped on the girl and kissed her,
But the girl couldn’t stand it, she hit him with a poker, ran away and made a wish.
This is a counting rhyme and a game.
58. Zubi-zubi-a!
Minky-hot-ka!
Zambi-pi-hot-ka!
Don't be afraid of me, I'll kill you
And in a year there will be a little son.
The Germans jumped from the balcony, from the second floor.
The first jumped unsuccessfully, the second broke his head, the third jumped on the girl and kissed her.
58. A star fell from the sky right on Detzel’s nose,
All the lads then found out that Detzel had diarrhea.
59. One, two, three, four - they taught me (*cat) to read and write: Don’t read, don’t write, just jump on the floor.
60. One, two, three, four - they taught me (*cat) to read and write: And read, and write, and count by cells.
61.One, two, three, four, five - he taught the cat to play. And write, and count, even play with dolls.
62. Duba, duba, duba, duba,
Duba is a rabid people,
Duba cries and laughs,
Duba sings songs,
Duba - grandfather - one, two, three,
Duba - woman - one, two, three.
What does she want? One, two, three.
Marmalade, chocolate - That's what the old woman needs.
We played dominoes
The number turned out to be zero....
63. Duba - duba - duba - duba.
Duba - doni - doni - a.
And Charlie Bouba, and Charlie Bouba,
And Charlie Bouba. A-a-a.
And doni me, and charlie be, and mi, freeze.
You are my Marusya, don’t be afraid of me,
I won't touch you, don't worry.
In a year, in two you will be my wife,
And in another year there will be a little son,
And next night there will be a little daughter.
Dear Marusya, don’t be afraid of me - I’ll stab you, don’t worry,
And the next night I will kill your daughter.
This is a counting rhyme and a game.
64. Teeth, teeth, teeth, teeth.
The teeth are treated by a doctor.
And I'm afraid. Don't be afraid.
And I will die. Don't worry.
A locust sat in the grass and sang a song: cha-cha-cha.
This is a counting rhyme and a game.
65. Teeth, teeth, teeth, teeth,
The teeth are treated by a doctor.
And I'm afraid - one, two, three.
Don't be afraid - one, two, three.
And I will die - one, two, three.
Don't worry:
In a year, in two, you will be my wife,
And in another year there will be a little son,
And in another five years you will be my neighbor,
And in another 100 years there will be a small skeleton!
At the last words, all players must cross their arms over their chests; the last one to cross them leads.
66. Black hands go around the dial,
Fast wheels, like arrows, knock,
There are sixty seconds in every minute,
The wheels roll and sing a song:
Alyo - Alyo - Alyonushka, Iva - Iva - Ivanushka,
Iri - Iri - Irinushka, Marie - Marie - Marinushka,
Moscow, Moscow, Moscow - river.
Hello - hello, bye - bye.
This is a counting rhyme and a game.
67. Legs, legs, ran along the path,
Through a meadow, a forest, and jumped over hummocks.
They ran to the meadow and lost their shoe.
68. If a siskin flies towards a swift, you go out, I drive.
If a swift flies towards a siskin, you lead, I go out.
69. The crow was cooking porridge: she gave it to him,
She gave it to this one, but she didn’t give it to this one.
70. Once upon a time, were I or you,
An argument arose between us.
Who started it is forgotten
And we are still not friends.
Maybe this time the game will be able to reconcile us.
71. Hedgehog-hedgehog is an eccentric,
I sewed a scratchy jacket.
We have to choose a driver.
72. The devils swam in the lake and didn’t get caught on the roof,
And we got caught in a cat's house,
Get out of the circle.
73. The devils swam in the lake,
The devils were pushing...
The devil pushed the little devil and the little devil drowned.
(❖The devil is lying at the bottom, not breathing,
It’s just shaking my ass).
74. Do, re, mi, fa, sol, la, si.
The cat is taking a taxi.
And the kittens latched on and took a free ride.
(*She wanted to go for a ride, so she sat down.)
75. I’ll go buy a pipe, I’ll go outside.
Louder, pipe, pipe, we're playing, you drive.
76. An apple rolled through the garden and fell straight into the water. Gurgle!
77. An apple rolled through the garden and fell straight into the water. Boom, water, boom, water - a red star came out.
And behind the red star came a golden month,
And behind the month - the moon, a red star came out.
Bool, water, boom, water, you drive, I play.
78. An apple rolled through the garden and fell straight into the water. Boom, water, boom, water - a red star came out.
And behind the red star came a young month,
And behind the month is the moon, the devil hanged the sorcerer.
79. The Greek rode across the river,
He sees a river: there is a crayfish in the river.
Gryok put his hand in the river - Cancer by Gryok's hand - tsag!
80. Oleg’s cart got stuck in the mud,
Oleg should sit until the snow.
You will leave the circle and help your friend,
You will deliver Oleg's cart to his overnight stay.
81. One, two, three, four, five - the cat learns to count: Little by little, little by little he adds a mouse to the cat, The answer is: there is a cat, but there are no mice.
82. One, two, three, four, five - together we will count. Slowly, little by little, we add a cat to the mouse. The answer is: there is a cat, but there are no mice.
83. A hare ran through the swamp (*hare ran through the swamp),
He was looking for a job
He didn't find a job
He cried and left.
84. Rock, paper, scissors - Tsu, e, fa.
This is a counting rhyme and a game.
85. Kameno, mangano - tsu, e, fa.
This is a counting rhyme and a game.
86. One, two, three - the fire is lit.
Kocherezhka, get out!
87. One, two, three, four, five,
Six, seven, eight, nine, ten - The king wanted to hang me,
But the queen did not give it and hanged the king.
The king hung, hung, hung, and flew underground,
And in the underground lived diarrhea, he had a green nose.
88. There are cars in the garage - “Volga”, “Chaika” and “Nissan”,
Choose the car yourself!
89. There are cars in the garage - Volgas, Chaikas, Muscovites.
Which one do you get the keys from?
90. A glass of water and you go out.
91. To build a new house,
We stock oak planks,
Bricks, iron, paint,
Nails, tow and putty,
And then, and then we start building a house.
100. - White hare, where did he run?
The forest is dense.
What was he doing there?
Lyko tore.
Where did you put it?
Under the deck.
Who stole?
Get out!
101. Eni - beni, ricky - faki,
Urba - turba, siki - trinkets,
Au - deu - krasnodeu, bam!
102. Eni - beni, ricky - faki,
Turba - urba, synthbrucks,
Deuts, deuts, bam!
103. Atka-batka kochkatame,
Abl-fabl drumene,
Pike - drike - dramatic, fly!
104. Monkey Chi-chi-chi Sold (*stole) bricks,
Didn't have time to sell
105. Monkey Chi-chi-chi sold bricks,
Didn't have time to sell
Fell (*flew away) under the bed.
There's a hole under the bed
The bottle has grown
And in the bottle - New Year,
He dances and sings
(*There is a hippopotamus dancing there;
Come out quickly, degrod).
106. Monkey Chi-chi-chi sold bricks,
She pulled the rope and accidentally kicked.
(*And the workers came:
“Ugh, the bricks stink!”)
107. Ding-dong, ding-dong, the mouse’s house caught fire, the mouse ran out, its eyes bulging,
The cat runs with a bucket to water the mouse’s house. The mouse grabbed it and put it in the bucket.
108. - Hare-hare, what are you doing?
I chew the stalk.
What are you happy about?
That teeth don't hurt.
109. The goat was sitting on a chair,
I counted my goats:
One, two, three - you will be a goat.
110. The old man was sitting on a bench,
Counted my pins.
One, two, three -
You, pin, come out!
111. The turtle tucked its tail and ran after the hare,
Turned out to be ahead.
If you don't believe it, come out.
112. Hare-hare, what time is it?
I'm in a hurry for my birthday.
My watch is standing - They don’t say anything.
113. A suitcase floated on the sea,
There was a sofa in the suitcase,
There is an elephant hidden in the suitcase.
If you don't believe it, get out.
114. A tangerine duck named Irinka was rolling.
I didn’t study my lessons and got a bad grade,
And when I went for a walk I got the number “five”
And when I went to the hospital,
I received one.
115. An orange rolled through the city of Berlin,
I didn’t study my lessons and got a bad grade.
And when I went for a walk.
Got the number five
And when I went to the hospital,
Got one
The unit is not mine
E - di - ni - tsa ko - ro - la.
116. Once upon a time there lived a rat
Named Anfisa.
They sent her beautiful shoes in a basket,
Both shoes and sandals - They gave her a lot.
117. Pih - groin, oh - oh - oh,
My year is flying by.
In a year, in two, you will be my wife.
118. Grandma Ezhka - bone leg
I fell from the stove, broke my leg,
And then he says:
My leg hurts.
119. Grandfather threw a cannonball, hit grandma in the nose,
The grandmother was a sneak and called the sentry.
The sentry said: “So, remove one fist.”
DITTS
Chatushka is a traditional folklore genre that also exists in the modern children's community. Children know and actively use adult ditties (including those containing invective vocabulary).
There are also children's ditties themselves - an age-appropriate variety of the adult lyrical genre. It is characterized by a specific theme: school, local (with the use of toponyms). They humorously show the relationships between adults and children, boys and girls. Let us note that many traditional love ditties have passed into the children's environment (“Don’t look at me...”). Children's ditties are predominantly humorous - they contain a lot of irony, self-irony, humor, and joy. Edification and direct moralization are practically absent.
SCHOOL DITS
1. I found a broom in the kitchen and swept the apartment.
And all that was left of him were three straws.
2. Olya tormented the comb,
I was doing my hair in class.
Tormented and tormented
But it turned out to be a stuffed animal.
3. Once Katya asked Lenya:
What are you doing in class, Lenya?
He thought a little and answered: “I’m waiting for the call.”
4. We decided to joke and not teach lessons.
After this joke
There are only ducks in the diaries.
5. Although the grades are not very good,
But our Anton is famous,
Because, by the way,
He screams the loudest among us.
6. Vasya painted a picture.
He is an artist - no doubt about it.
But why did he color us?
In red, yellow, blue?
7. Mom asked us strictly:
Who broke the tape recorder?
I didn’t deny it for long and admitted: “It’s him.”
8. One day last year I was cleaning a frying pan,
And then Mom cleaned me for four days.
9. Tanka looks like a fool
But not out of habit.
Dad just dragged it out
Her pigtails are tight.
10. Igorek found a job - Slap his tongue on the ass,
If you can't find paper,
Then they call him to the toilet.
11. Our Lena, out of sadness, swallowed three boards,
And after three weeks
The boxes were flying out of the woodwork.
12. In store number five there was a performance:
The sausage danced
The cookies were jumping.
13. There is a glass on the table,
And in the glass there is a cockroach,
Mom thought - raspberries,
I took half a bite
Dad thought it was a cucumber
I bit off the other end.
DITTS FOR ADULTS PERFORMED BY CHILDREN
14. Eh, Semyonovna,
I swam in the river,
Big fish to her
Got caught in my panties.
15. I gave him a handkerchief and said: take care,
And he, the damn infection, wipes his boots.
16. There is a glass on the table,
And in the glass there is a lily.
Why are you looking at me, Crocodile Face?
17. There is a glass on the table,
And in the glass there is a cockroach,
I grab him by the mustache
And he grabbed my panties.
18. Grandma saw off grandfather and cried for grandfather,
And my grandfather had moonshine dripping from his pants.
19. I boiled milk, went far away,
I approached him again - There was no milk in sight.
20. Badger, badger I hung it... on a branch.
The girls thought - raspberries, took half a bite.
21. We went hunting and caught a sparrow.
We ate meat for three weeks
And they sold out of everything.
22. Vasya Reznikov arrived, surprised all the authorities: He ate a rotten can of stew and went around in circles.
23.Don't look at me
You'll break your eyes,
I'm not from your village,
You don't know me.
24. I danced with three legs, I lost my boots, I looked back - My boots are standing.
2 5. I loved a rich man, I thought he was rich. I come to his house
And he is poor there.
26. Oh, girls, trouble,
In our alley, my husband's wife sold him for four rolls.
27. I am a fighting boy, I will remain a fighting boy.
Oh, and it will be difficult for the one who gets me.
2 8. I loved a pilot, I thought he flies,
I arrive at the airport
And he's sweeping there.
29. I fell in love with a tractor driver, I thought he was plowing, I came to his field,
And he's waving his panties.
30. - Oh, my mother-in-law,
Let me have a hangover, Your daughter isn’t moving at all.
Eh, dear son-in-law,
Somehow I can’t believe it.
Under a good man And the log moves.
31. The girls swam in the lake, they found Chupa Chups, they sucked it all day, they didn’t even go to school.
32. The Chinese were driving,
I lost... ah,
The girls thought: raspberries,
We took half a bite.
CHANTS
Shouting is an urban genre common in children's health camps. In rural areas this genre is rare. School summer camps have only recently begun to appear here, with teachers working as counselors there. The purpose of the chant is to organize a children's group for joint activities. Chants are usually performed when moving in formation to the dining room, at sporting events; they are especially popular among fan teams during various competitions.
1. We are driving a tank,
We see a cow
In a hat with earflaps,
With a healthy horn.
Hello cow,
How are you doing?
Do you speak English?
What are you calling me names?
Bald hedgehog on the coal
With a red ball in hand.
We are, in general, the sixth detachment,
A big hello from us to everyone.
2. Fifth “B” is a champion,
But today he’s fine.
3. Fifth “B” champion - Head on concrete.
4. Fifth "B" with the ball,
Like a cow with a brick.
5. Fifth “B” champion in concrete diving.
6. Fifth "A" champion,
Only he wins
CALLS
Calls are short rhyming sentences associated with the folk calendar. They gave children a poetic form of communication with the natural world - with birds, sun, rain. By origin, chants are associated with the magic of the word, which was supposed to influence the forces of nature.
Over time, ancient ideas lost their practical value. In children's everyday life, chants have been preserved in a transformed form; they correspond well to the worldview of children, who tend to spiritualize nature. For example, in one of the chants there is an appeal to objects of inanimate nature - an airplane.
Nowadays the number of nicknames used by children is small. Of the references to natural phenomena, only references to rain were recorded.
1. Plane, plane, take me on a flight,
And there is a cucumber in the cabbage, and whoever listened - well done,
This is where the fairy tale ends.
2. Plane, plane, take me on a flight,
And in flight it’s empty, cabbage has grown,
And there was a worm in the cabbage, it was hooked.
(*And there’s a worm in the cabbage, Vanya the Fool came out).
3. Rain, pour, pour, pour,
To make it more fun.
(*Rain, rain, more,
The grass will be thicker).
Play is a traditional form of children's pastime. This section presents word games and drawn riddles that have become popular among children since the mid-20th century. Magic games -
evocations (“Pannochka”, “Brownie”, “Devil”, etc.) occupy a special place in modern children's folklore. For the first time, “invocations” became the object of research in the works of A.L. Toporkov. This genre includes various forms of oral folk art: games, spells, songs, etc. The purpose of magical-game evocations of characters from children's myth-making (the Queen of Spades, dwarfs, the foul-mouthed Devil) is to experience a collective feeling of fear and defeat it. Most of the characters evoked are heroes of books, cartoons, and films that go back to folk demonology or are generated by the imagination of children. The evocations expressed the children's craving for a fairy tale, for a miracle, which provides rich opportunities for the realization of children's imagination.
The purpose of the “summoning” ritual is the very fact of the appearance of a supernatural being or the discovery of the consequences of its arrival. Participants are attracted by the penetration of the miraculous into everyday life, and the fear of possible danger is overcome.
The ritual-play element in evocations almost replaced the verbal side. This genre is synthetic: it involves object attributes (mirror, candy, map, pencils, etc.), actions, performance conditions (in the dark) and a short, standard verbal formula.
Games with choruses originating from the folklore of adults have practically disappeared from the children's gaming repertoire. In modern folklore, the preponderance falls on games in which the word serves as a sign, a command, with a complete loss of artistic function. These are mainly sports games. But games with extensive game dialogue are still popular - “Gardener”, “Paints”. The word plays a service role, far from an artistic function, in such word games as “Broken Phone” and “Cities”, “Names”. But for today's children, play is just as important as it was for their peers in the past.
The texts of the games are a verbatim recording of children's speech.
GAMES - SILENT GAMES
The game of silence usually begins with the words “fish ("fish") - crucian carp,
the game has begun”, and ends - “the fish (*fish) is a shark, the game has drowned.”
1. The Tatars were driving, they lost a cat,
The cat died, the tail came off,
Whoever utters (*a word) will eat (*it).
2. The Tatars were driving, they lost a cat,
The cat died, the tail came off,
Whoever speaks will eat,
And whoever laughs will drink cat's blood.
3. Who was born as a black man, respond!
Possible answer:
What, are you looking for relatives?
4. The sun came out from behind a cloud,
All the worms gathered in groups.
The main worm said:
Who was born as a black man, respond!
The words “Who...” are not necessary, you can just shut up. The first one to say something is called a “worm.”
5. Who sucked the hippopotamus
All four machine guns? Answer me!
"FUCK, NOT ME"
This game consists of shouting out the phrase “mind you, not me” after the leader’s words. Whoever shouted last lost.
6. Which one of us is the black parrot? C'mon, not me!
7. There is a bus on the mountain, and on the bus there is a snake. C'mon, not me!
8. Who was born with a mustache? C'mon, not me!
GAME WITH CLAPS
9. Clap one by one for each word; if the player who got it last word, managed to slap the second player's hand, he won.
A crow in blue trousers was flying, reading a newspaper number...
(any number): one, two, three,...
“OAK, WALNUT OR BATH?”
10. The game starts unexpectedly. At any moment, someone grabs anyone by the back of the neck and squeezes, saying: “Oak, nut or bast?” The one who is being pressed says any of these words.
Oak - knock out the right tooth.
Nut - who are you pinning your sin on?
Bastard - start over.
"ROCK, PAPER, SCISSORS"
11. Two or three play together. The players stand in a circle, the leader says: “Rock, paper, scissors, tsu, e, fa (one, two, three).” At the end of his words, the players extend their hand forward: a fist is a stone, an open palm is paper, the index and middle fingers are scissors. The winner is determined as follows: the paper wraps the stone, the stone dulls the scissors, the scissors cut the paper. Sometimes a well is added - fingers connected into a ring. Play several times. This is how the driver can be determined.
GAMES - CHALLENGES “PANNOCHKA”
12. The one who is to become a lady lies down on his back, closes his eyes and crosses his arms over his chest, like a dead man. One of the players says the spell, the rest repeat the last word. You cannot laugh or smile while pronouncing. If a lady smiles, then she is not a lady.
Our lady died, died, died;
Let's take her soul beyond the black mountains, mountains, mountains;
Let's throw her off the black mountain, mountain, mountain;
Let's bury it under the black oak, oak, oak.
Pannochka, do you see the red spot?
The player nods if he is a lady and begins to catch up with the other players. Pannochka strangles whoever she catches up with, and to remove the “spell” from her, you need to give three slaps.
There is another version of the spell.
Our little lady is dead, dead, dead. Let's bury her holy, holy, holy,
Let's take her soul beyond the black mountains, mountains, mountains,
Rivers, rivers, rivers, seas, seas, seas,
Let's give her a red ("black") cross, cross, cross.
Pannochka, if you are here, show your teeth, if you are not, smile.
13. Any person lies down on a bench or even on the ground. And, twisting their temples like a massage, the players say:
Our lady died - merla - merla - merla,
Let's give it to the gods - am - am,
Let the devils - devils - devils bury her,
To be devoured by the wolves - am - am.
They say this three times. Then they say three times:
“Panna, if you are with us, raise your hands!”
And she gets up. And if she’s not a lady, then nothing will happen, she won’t wake up.
What's happening to her?
They say that she finds herself in another world and is looking for books: the first book is “Pannochka’s Dark Records”, the second is “The Book of Life” and the third is “Silver Book”.
Does she bring these books with her?
She, she will find a book and read. She will find a book, read it, and then, when she wakes up, she will tell it. It basically tells who shouldn’t be bewitched, who can, and who shouldn’t be bewitched at all. You can also find out how old someone is, who will die at what time. Fairy tales, in short!
For a person to wake up... either the lady will scare him and he will wake up on his own, or a hit on the head.
14. Our lady died, lady, lady,
Let's take her to the black mountain, mountain, mountain,
Let it rise in the skies, skies, skies,
She will close her eyes, eyes, eyes
And her soul, soul, soul will leave.
You repeat this three times. The man lies down with his hands on his chest. He closes his eyes and then, when he already comes to these feelings, he gets up and starts strangling him or something like that.
How can I get him out of this state?
You need to hit him in the heart or just knock him down and hold him by the shoulders.
What is this entertainment?
For us it's entertainment, but for others, I don't know.
And what does the lady say then about what the lady sees there? Nothing. She's just suffocating. She has the intention of killing people.
"PUSHKIN"
15. Put a handkerchief, three cones, a feather, and draw a house and a clearing on the mirror. Put it all on a handkerchief; You also need to put three white stones and cover yourself with something dark and say: “Pushkin, Pushkin, come, write a letter.” Repeat three times. And his head becomes visible on the mirror. It needs to be dark - dark.
"MATERSHINNIK"
16. Take some candy and write on a piece of paper how many swear words you know. Everything is put under the pillow and they say three times: “Swearer, come.” And you order time, and he will swear at you. He will call you by name and swear. And the time is ordered. For example, all night, and he will swear at you all night and write all the words to you with paint.
On the ceiling, on the walls, on the floor. But you can't look anywhere. No one has called yet.
"GNOME-MARSHINIK"
17. You need to take a long thread, tie twelve knots and tie it tightly to something and call: “Gnome - swear word, come,” three times, and name as many people as possible, and say as many swear words. Only in the dark.
18. You need to take a long thread, or twelve pieces of small bread, or hang up twelve sweets and say: “The foul-mouthed gnome, come.” Repeat three times. Say how many people, so many swear words. For example, “The foul-mouthed gnome, come, come, come. There are six of us here,” or however many there are. If anything there either shakes or breaks, then it’s as if he has arrived. But no one heard him swear.
19. Take a thread and attach plasticine at certain intervals. There are six of them. And you say three times: “Damn foul-mouthed man, come.” And he will walk, stumble and swear. This must be done in the dark. And to get him to leave, you say: “Damn foul-mouthed man, go away,” three times. He won’t swear, which means he left.
"VANKA-MARSHINIK"
20. Two chairs are placed, approximately one and a half meters apart. A regular sewing thread is tied. Tied to the backs. And there are many, many knots on this thread. You put candy on one side. I love it. And you say three times: “Vanka the swearer, come out.”
So he comes out. And goes to the candy. This must be done in the dark. And such a small luminous point, approximately five centimeters in diameter. They call after twelve. It comes out and when he trips over a knot, he’s checkmate. If you trip over a knot, the mat will bend. Until the candy comes. For him to leave, you need to turn on the light, and he will leave. If you laugh, he may pinch or bite.
"CHEWING KING"
21. You need to take a blanket so that it is dark, take glass, put a ladle of water on it and put chewing gum. Saying: “Chewing King, come.” Put in one piece of gum, it will come out and there will be a lot of gum. We have already done this and it worked.
"QUEEN OF SPACE"
22. Take a mirror, draw ladders (steps) and say: “Queen of Spades, come” three times. If the steps wear off, well, the stains remain, she goes. Well, if she does this... You don’t want to, then you need to erase the stairs in front there. She'll be back. This is the most terrible fortune telling. She can choke.
23. You still need to put a glass of blood. Next to the mirror. They don’t put a mirror, but put it like this, against the wall, draw ladders, and put a glass of blood. And the words are the same: “Queen of Spades, come.” And repeat three times.
"BOX"
24. Three spoons are placed on the floor and wrapped in paper. Any blank piece of paper. Two are placed vertically, and one is placed horizontally. Two like that
and one is across. Large, tablespoons. They say three times: “Brownie, brownie, come out!” And they will shake. Or he will start running around the house, stomping, knocking things over.
25. This needs to be done together. Take three pencils and connect the ends together, forming a square, and say: “Brownie, come” three times. And if he comes, the pencils go up. You ask him questions. If he doesn't answer, they go down. And if he doesn’t know, then move away. You put the pencils away and he leaves. This is called anywhere.
26. You need to take a piece of paper and draw two circles, one inside, smaller. IN big circle you need to write numbers up to thirty-two, and in small - letters.
Why up to thirty-two?
It is believed that he is never more than thirty-two. This is the version. Then take a needle and thread, wrap it around your finger and place it in the center of a small circle. And you ask: “Brownie, what’s your name?”
But first you ask: “Brownie, are you here?” And he points to D and A - it turns out “Yes”. Then: how old are you and so on. He answers everything. We tried, and we succeed, it's true.
It is not necessary to call at night, you can call in the evening.
27. The brownie can be called like this. In a dark place, for example, we called in the shower - the shower is very dark - you put a mirror, light a candle, put a chair and, for example, you need two people to stand behind the door.
And you sit down at this chair, close the hook and start saying: “Brownie, come. Look at me, come to me." And you sit down, and when you look in the mirror and say these words, something scary appears on your face. Sometimes there is even a different reflection. Then you need to immediately open the door and run out. And if you couldn’t open the door, then
you will remain so. If the mirror breaks, the person may get sick or something bad might happen.
28. You can also do this. You can take a leaf and ask: “Brownie, how many years do I have left to live?” - and so hold the pen weakly and weakly. And he will write. He writes sixty, which means there are sixty years left. So my grandmother tried to tell fortunes.
"DAMN"
29. Put down a piece of landscape paper. In the dark you close everything glass. Place a needle on a red thread in the center of the leaf. And on a piece of paper you draw such a spectrum... You draw a circle, and in it there is another circle. And in the resulting mug there is a rim. You put all the letters on it, and in the small one you put numbers from zero to nine.
And now you can talk to him. Here is a red thread, and you place it like this so that the needle bends a little. And in one corner of the piece of paper you write “Yes”, and in the other - “No”. And you say: “Damn, are you with us?” The needle will start spinning and will indicate “Yes” if it has arrived.
You can call on any day, in the dark and covering everything made of glass: mirrors, dishes, but it would be better in a separate room. You can say: “How old am I?” - and the needle will show. If you do it at night, you light a candle. But during the day it doesn’t work.
30. Heat the needle on the candle. Draw a little devil, stick this needle into his heart or navel and hold him by the thread and ask: “Spirit of Alexander Sergeevich Pushkin, have you come?”, or someone else’s spirit, or devil.
And the needle spins, and he answers: yes or no. You also need to write “yes”, “no”, the alphabet and numbers on the sheet.
You need to say hello, and when you want him to leave, you say “thank you” and say goodbye.
"SWEET TOOTH"
31. Take any candy, only in a wrapper. You go to some dark place. Dark, dark. And this... You repeat three times: “Sweet tooth, come!” - and you leave for an hour or two. And then you enter this room. And either there is no candy there, or it is lying on the floor. This means he came.
"BETROTHED"
32. You put a mirror and a candle next to it and say: “Mummer, come!” You repeat several times, and as the candle burns, you will see either eyes or a face and guess who your betrothed-mummer is. This must be done any day after twelve at night.
GUESSING THE NUMBER AND GENDER OF CHILDREN
33. Take a needle and thread. Right palm - thumb is set aside, the rest close. To prevent the thread from spinning, it is lowered three times between the thumb and all other fingers. Then onto the palm. If the needle begins to move in one plane from side to side, then it is a boy. And if she spins, then it’s a girl. And how many children she will determine when you do it, do it. As soon as the children run out, it will become so, it will not move above the palm.
“DOLL, BALLETTIRE, CHOOSE....”
34. They play with buttons on clothes. They are counted and for each button they say: “Doll, ballet dancer, imagined, gossip.” Whichever word ends with buttons, that’s you.
"GRANDMA HEDGEHOG"
35. A presenter is selected. Everyone runs away from him and screams/
Grandma Hedgehog, bone leg,
I galloped across the field, looking for grandfathers,
She lost her leg - she was looking for us.
The one who is caught up becomes Grandma Hedgehog.
36. Stand on one leg in a circle. Here's a poem they tell you:
Grandma Hedgehog, bone leg,
I fell from the stove, broke my leg,
She ran into the garden, scared all the people,
She ran into the flock, scared the bunny,
And then he says: “My leg hurts.”
And this... you jump on one leg, catching up with everyone. The last one caught up becomes Grandma Ezhka. If your leg is tired, you can change it.
GAMES ON THE RIVER
37. When they dive, they say:
The woman was sowing peas and said to her grandfather “Oh!”
Basically, the genre of lyrical songs is represented by well-known author's texts rewritten by children. Children's songs ("The Circle of the Sun", "A Grasshopper Was Sitting in the Grass", "A Christmas Tree Was Born in the Forest", "Smile", etc.), songs from Soviet films ("Somewhere in the White World...") were "modernized". ."), modern pop (“My Bunny”). There are also actual children's works - “Chikibubisha”, “It’s Quiet at the Ivanovo Cemetery...”, “The Shepherd Came to Watering.” According to informants, some songs have an established authorship, for example, “Little Mary”.
1. Let there always be vodka,
Sausage and herring,
Cucumbers, tomatoes,
We are such gluttons.
2. Circle of the sun, Germans around,
This is a drawing of a fascist.
He drew on a piece of paper
And signed in the corner:
“Let there always be vodka,
Sausage and herring,
Cucumbers, tomatoes,
Ham and cabbage - It's very, very tasty."
3. Military circle, Germans around,
Hitler went on reconnaissance
He fell into a hole, broke his leg, and said goodbye:
“Let there always be vodka,
Sausage and herring,
Cigarettes in my pocket and my wife in my suitcase.”
4. Somewhere in this world, where it’s always hot, Children and teachers sleep in class,
But Olya can’t sleep, she writes notes to Kolya:
"I love you".
Olya was an athlete, she climbed mountains,
Kolya was an athlete, he climbed on his heels.
Olya flies into the ditch, Kolya flies after her,
Olya is in the hospital, Kolya is lying on top of her.
Olya shouts: “I’m giving birth!”, Kolya shouts: “Who?!”, Olya shouts: “Sheep!”, Kolya shouts: “Wow!”
5. Julia ran along the grass,
Artyom ran after her.
Julia took off her swimming trunks,
Artem was lying on top of her.
Julia shouts: “Oh, it hurts!”
Artem shouts: “Be patient!”
Julia shouts: “I’m giving birth!”
Artem shouts: “Who?!”
Julia shouts: “Giraffe!”
Artem shouts: “Wow!!!”
6. A Christmas tree was born in the forest,
And who gave birth to her?
Maria Lopez is a fool and Victor is a crocodile.
7. A Christmas tree was born in the forest,
Zigzag saved her
And Uncle Scrooge was counting the money under the Christmas tree,
And Billy, Willie, Dilly shared the drugs,
And the Magic of Hypnosis Pearl... was under everyone's nose.
8. The bottle will make everyone brighter,
And she will return to you more than once.
And then for sure we will get drunk on cognac and the grasshopper will run to hand over the bottles. He will stumble, fall,
He will break all the bottles and get hit on the green back of the head.
9. A hippopotamus kicked from a smile,
The monkey choked on a banana, the dark forest stands there like an idiot,
And he counts his money from his pocket.
And then for sure we will get drunk on cognac,
And the grasshopper will run to hand over the bottles. A river begins with a blue stream, Well, friendship begins with a bottle.
10. A hippopotamus kicked because of a smile,
The monkey choked on a banana.
And then for sure
Suddenly the clouds get drunk and the grasshopper runs to hand over the bottles. Suddenly he stumbles and falls,
He'll hit himself on the left side and get the green back of his head.
11. One, two, three, four - Kuzi stood together in a row, One, two, three, four - Kuzi wanted to drink and eat. One, two, three, four - Valera will lead them,
One, two, three, four - wonderful people.
Across the field, across the field, where the berries are like honey.
Through the forest, through the forest, where porcini mushroom growing.
Through the meadow, through the meadow where the grass is green,
And where the water from the stream is cool and tasty,
And where the water from the stream is cool and tasty.
12. It’s quiet at the Ivanovo cemetery,
Where are the dead people in little white slippers going for a walk today?
You come, my dear,
You, come, my friend,
Come to your grave
Let's rot together.
You come, you come,
Come, nightingale.
On the fence, with its legs dangling, a corpse sits and looks into the distance with glassy eyes,
And a passerby looked at it and fell,
Well, the corpse was not confused and said:
You come, my dear,
You, come, my friend,
Come to your grave
Let's rot together.
You come, you come,
Come, nightingale.
We should dismantle the house board by board,
The two of us should take a walk.
You come, my dear,
You, come, my friend,
Come to your grave
Let's rot together.
You come, you come,
Come, nightingale.
15.The skeleton was sitting on the fence,
The skeleton stared at passers-by.
One passer-by slipped and fell
And the corpse told him:
"Come, my dear, Come to my house,
Come to the grave
We'll rot together.
I’ll give you a sweet bone and a shard - smack-smack.”
16. Sleep, my joy, sleep, Tomorrow you will wake up covered in blood, You will find your teeth on the floor,
Feet are on the ceiling.
17. Mom sewed me pants from birch bark,
So that your butt doesn't sweat,
No mosquito bites.
Here the trousers made of birch bark are torn,
Immediately my butt started to sweat and I was bitten by mosquitoes.
18. New home We built a hedgehog according to the drawing.
House with a tall chimney
With a pointed blue roof. It turned out to be a nice house, there is a door and windows in it, Round table standing in the corner, soft rug on the floor.
The hedgehog lay down on the carpet,
Got up with a sore throat at dawn,
The back does not bend - At night it blows from the window.
The hedgehog avoids the house with the tall chimney,
Hedgehog protects health,
He lives in an old felt boot.
19. Little Mary
could be seen in the distance White House, White, white house.
The alley bloomed around him,
And at the open window Shalula - Lula
Little Mary was sitting.
Mary's long braid,
Shalula - Lula.
Mary's long eyelashes,
Mary has brown eyes
She's a wonderful girl.
One fine evening,
Shalula-lula,
She fell in love with Arthur.
He is a sign of agreement in love,
Shalula - Lula,
He gave her a bouquet of lilacs.
Don't wait, don't wait, he won't come,
Shalula - Lula,
He already fell in love with someone else,
He leads her down the aisle,
Shalula - Lula,
He says he loves him and kisses him.
The next morning all the people found out
Shalula - Lula,
That little Mary was poisoned,
Arthur found out about this too.
Shalula - Lula,
Arthur's conscience awoke.
He ran towards her without hind legs,
Shalula - Lula,
Fell to his knees at the coffin,
He kissed the cold forehead,
Shalula - Lula,
And he said, “Wake up, little Mary.”
could be seen in the distance black house,
Black, black house
Nettles bloomed around him,
And at the closed window,
Shalula - Lula,
Two graves were visible.
20. We will dismantle the school brick by brick,
(* Piece by piece, piece by piece, we’ll dismantle the school)
We will hang the teacher (*we will hang), and we will beat the head teacher (*we will kill).
We'll flush the director down the toilet on a string,
And let an excellent diver save him.
(*Let's cut this thread and it will be super cool!)
(*Let’s lower our Englishwoman into the toilet and let an English diver save her)
21. Chunga-changa, there are three nails in the school,
Chunga-chang, you can’t get it out,
Chunga-changa, there's dynamite at school,
Chunga-changa, he's already smoking,
Chunga-changa, five minutes have passed,
Chunga-changa, the school was destroyed.
(More often, instead of the word “school” the word “f... a” is used)
22. I sit in class and don’t look at the board.
I sit and sit, and tomorrow I’ll get a bad grade.
And the teacher at the blackboard says something quietly,
But I just sit and don’t look at the board.
23. The shepherd came to the watering place - Drink water, wash his underpants. Wow!
The cow kicked... slightly -
She killed thirty-three bulls and shepherds. Wow!
The shepherd flew like an airplane and shot down a German helicopter. Wow!
A microbe is running across the field,
A cyclops is chasing him.
Wow! What impudence!
24. The cows went to the watering place - Drink water, pee... in the bushes.
The cow kicked lightly - Killed thirty-three bulls.
Wow! Wow!
A cyclops is running along the wall,
A microbe is chasing him:
Give me back your panties, they're not your size!
Yes, take them for yourself!
25. My school, I'm your boy,
My pen, I am your finger.
My class at school
I'm at school too
They teach us here, and I am pleased.
I sleep well at night,
Because I love school.
TEASERS AND EXCUSES
Teasers are short rhymed songs and poems in the form of a person’s expanded nickname, satirically ridiculing his shortcomings, imaginary and real, or simply distinctive properties. The habit of giving nicknames was passed down to children from adults, but children are not characterized by rancor, and therefore, after a series of name-calling, excuses and excuses follow. The reason for the offensive words is forgotten, but the image and rhyme are stored in memory and then reproduced in relation to other people.
Some teasers expose the real shortcomings of children: sneaking, dishonesty, uncleanliness, talkativeness, etc.
Yabeda - koryabeda, pickled cucumber,
There are teasers with which they attack a child “not for his cause,” but for physical disabilities, gender, nationality, and make fun of his first and last name.
Teasing is performed in the form of a verbal “competition” or constant repetition of the same text with the aim of offending one person.
The simplest teaser model: name + rhyming word (Natasha is a bug, Irka is a hole). Important artistic features of the teaser are rhyme, iambic and trochaic meters, characteristic poetic device is a punning interpretation of names (Petka - rooster), epithets, nicknames, hyperboles, repetitions. The “defensive” means is
an excuse (term by M.V. Osorina), which “not only destroys the harmful effect of offensive words on a person, but also turns them against the offender himself.” Excuses are small, usually poetic texts, the function of which is to painlessly avoid a sticky situation that has arisen in the game. Excuses are also used as a means of defense against teasing, ridicule, and “gags.”
TEASERS
1. Butuz has two watermelons, Butuzikha has one.
Butuz walks around the bazaar, and Butuzikha follows him.
2. Andrew the Sparrow, don’t chase the pigeons,
Don't bite the sand, don't dull your toes,
A sock will come in handy for pecking a spikelet.
3. Andrey is a sparrow, don’t chase the pigeons,
Pigeons are afraid and do not sit on the roof.
4. Greedy beef.
5. Greedy beef, pickled cucumber,
Lying on the floor, no one is eating you.
6. The coward is a Belarusian, he rode a horse,
He tore off his arms and legs and was left without panties.
7. Pick-up pig (*repeat),
There's a toy on your nose and a drum on your belly,
Drawn (*drawn there) boar,
And the boar is moving,
Soon Olya (any name) will get married.
8. Red-red, freckled,
Killed my grandfather with a shovel
But I didn’t hit my grandfather,
And I loved my grandfather.
9. Thunder rumbles, the earth shakes, this (name) is rushing to the toilet.
10. Among the roses there is one manure.
11. Among the women there is one foreman
About a boy who is alone among girls
12. There is one pig among the girls.
About a boy who is alone among girls
13. Vanka-Vanka - simplicity,
I bought a horse without a tail,
Sat backwards
And I went to the garden.
14. Yabeda - koryabeda, pickled cucumber,
It's lying on the floor, no one eats it.
The fly flew up, smelled it and ate it.
The cockroach came, crushed it and left.
15. Egor - tomato.
16. Irka is a hole.
17. Irishka is a drinker.
18. Lenka - foam.
19. Masha - Cheburashka.
20. Masha is porridge.
21. Alenka - diaper.
22. Lelya - flat.
23. Yulka is a goat.
24. Yulka is a whistle.
25. Ulka - bullet.
26. Alyoshka is a ladle.
27. Antottka - potato.
28. Hedgehog - fuck a knife.
29. Svetka is a sweetie.
30. Natasha - birdie, green turd.
31. Natasha is a brew.
32. Deniska - toffee.
33. Vovka - carrot, red head.
34. Natasha is a drunk.
35. Natasha is a bug.
36. Lenka - foam, sausage,
There's a wasp on a string.
And the wasp bites
Lenka smiles.
EXCUSES
1. The pharmacy ("school") is closed,
I have the key
Who calls you names - At yourself.
2. I don’t play mean in the Amur region.
3. From the gate to the gate everything goes the other way around.
4. If you speak to me, you translate to yourself.
5. And I’ll put up a ladder and rearrange all the letters.
6. Shark fish - game drowned.
7. Fish-whale - the game will fly.
8. Why lie - talk with your tongue.
9. The first word is more valuable than the second.
10. The first word was eaten by a cow.
Answer: Cows don’t eat words.
11.-I’ll tell my mother everything.
And I'll show you my finger.
But the finger won’t help - It will put you to sleep.
But I don't want to sleep
I'll fly away on a rocket.
And there's a crocodile in the rocket - He grabbed you by the sides.
And I will jump out onto my native street.
12. Why lie, what the hell.
Mirilki are short poems of reconciling content, accompanied by a special ritual. They are pronounced by clasping the little fingers and shaking the arms. Mirilki represent a magical act of children's justice. With their help, children of primary school age decide the outcome of short-term grievances and quarrels, i.e. peacekeeping is a means of resolving a conflict situation.
Although mirilki are a very common genre, the texts themselves are not diverse. Here is presented only one mirilka, recorded in several versions.
1. Make up, make up, make up and don't fight anymore,
What if you fight?
I will bite
And biting has nothing to do with it,
I'll fight with a brick
And the brick breaks,
Friendship begins.
(*Come to my house,
We'll fight with sausage.)
2. Come to my house, we’ll fight with sausage. The sausage breaks - Friendship begins.
This genre is designated in the work of M.Yu. Novitskaya and I.N. Raikova as “underdress”. It develops intelligence, quick reaction, the ability to listen carefully to your interlocutor, and a sense of humor.
As a rule, the child falls into the “trap” only once and then he himself tries to “pick up” those comrades who do not yet know about the new joke. However, after some time after the first performance, jokes are forgotten by children, and they can be used again..
Types of “gags”: decoys (“Dunya”), decoys
natural dialogue (“There’s an elephant”), jokes (texts No. 9 - 14), riddles (“A, B, L bought a house...”).
The texts of the “jokes” are a verbatim recording of the children’s
1. Look around! I looked around - the navel was inflated!
2. There's a bird... Grab you by the testicle!
3. There's an elephant... Thanks for the bow.
4. A, I, B were sitting on the pipe,
A fell, B disappeared,
Who's left to clean up?
5. - A, I, B were sitting on the pipe,
Anasr...la, B nass...la,
Who's left to clean up?
Of course you are.
6. A, B, L bought a house and lived in it for a very long time.
A - sick, B - in the hospital,
L - went abroad.
Who stayed in the house to live? (A)
7. Place the person facing the wall, with his hands resting against the wall at the same level. You ask simple questions: does he have a mom, dad, sister, brother, cat, etc. If the answer is “yes,” then you need to move your hand a little up. Then, when your hands rise to a sufficient height, you ask: “Are you crazy?” - No. - Why are you climbing the wall then?
8. For each positive answer to a question, you need to bend your finger, in turn, all but the thumb. The questions are something like this: do you like ice cream, pastries, cakes, oranges, etc. Last question: - What do you like? - No. - What are you showing then?
9. The hand is closed into a fist. You ask: are your mom, dad, brother, sister poor? If the answer to the question is “no,” then the finger extends. When the last finger remains, you ask: “Are you a beggar?” - No. - Why are you holding out your hand?
10. Imagine that you are having a dream. There are two cars in front of you: a Mercedes and a Zaporozhets. What will you do? (answer any) You are riding on your..., in front of you are two mountains - gold and silver. What will you do? (any answer) You drive further on your..., with your little gold (*silver), and you see two mountains of the city: light and dark. You can't go around them. What will you do? (answer) You need to wake up, because you are dreaming.
11. The orphan runs through the forest and field, through the field and forest (you say this as long as possible). She fell into a hole and cannot get out. A man walks through a field and forest,
forest and field (you say it as many times as you like). He approaches the hole and says: “If I pull you out, I’ll kill your mother, but if I don’t pull you out, I’ll kill my father.”
What should she do? (answer) She’s an orphan, let her pull her out.
12. A man went hunting in winter. It goes through fields and forests, through forests and fields (as much as you want). In front of him is a wide river, but there is a tree growing on the bank. What should he do? (answer) It’s winter, you can walk on the ice.
13. Do you know how DUNYA stands for?
D - fools, U - we have, N - no.
Only you!
1. Which cross is the largest? 120% stupidity. Answer: the one that divides the square.
2. In which of these coffins is the wounded Vasily Ivanovich buried? 120% stupidity. Answer: the wounded are not buried.
3. Write your name. 120% stupidity. Answer: name.
4. What will you do with this apple? 120% stupidity. Answer: they don’t eat what is drawn.
LITERATURE
1. Anikin V.P. Artistic word // Folk wisdom. Human life in Russian folklore. Vol. 2. Childhood. Adolescence / Comp., prepared. Texts, intro. Art. and comment. V.P. Anikina. M.: Artist. lit., 1994.
2. Vinogradov G.S. Russian children's folklore. Book one: Game preludes. M.: “Academia”, 1986. P. 65-156.
3. Novitskaya M.Yu. Children's folklore and the world of childhood / M.Yu. Novitskaya, I.N. Raikova // Children's folklore. - M.: Russian Book, 2002. - P. 5-53.
4. Trykova O.Yu. About the current state of children's folklore http://gramota.ru. 12.10.2004
5. Toporkov L.A. The Queen of Spades in children's folklore of the early 1980s // School life and folklore. Tallinn, 1992: pp. 3-42.
The largest Russian folklorist, professor at the Russian State University for the Humanities, doctor philological sciences Sergey Yurievich Neklyudov- author of more than four hundred works on theoretical folklore, mythology, epic and traditional literature of the Mongolian peoples, editor-in-chief of the magazine on Russian folklore and traditional culture “Living Antiquity”.
In the early 1990s, he was one of the first in our country to begin to study modern Russian urban folklore, to which he gave the name “post-folklore,” which then took root. Today, among other things, he heads the Center for Typology and Semiotics of Folklore at the Russian State University for the Humanities and manages the website “Folklore and Post-Folklore: Structure, Typology, Semiotics.” Olga Balla talks with Sergei Neklyudov about what “post-folklore” is, how it differs from folklore and what the tasks of researchers are in relation to it.
- Sergey Yuryevich, how would you draw the line between “folklore” and “post-folklore”?
- Most likely, there is no clear boundary between them - as is usually the case in humanities. There are always some intermediate or marginal forms that combine the characteristics of both phenomena.
- But why was the term “post-folklore” needed at all?
- The fact is that folkloristics - both our domestic and European - grew out of the study of the so-called classical forms of folklore. This is the folklore of those communities that acquired writing, as a rule, a state structure and, in many cases, one of the world religions: Christianity, Islam, Buddhism (and did not remain with the traditions of ethnic “paganism”). Of course, there are typically “classical” cultures in which this last feature is not so clearly expressed or is completely absent - say, Chinese, Japanese, Indian and some others.
On this material - almost exclusively rural - all the analytical tools of folkloristics were worked out, all the concepts about folklore genres, about the method of transmitting oral texts, about the environment in which folklore exists, and about its bearers. Therefore, scientists for a long time did not notice new forms of folklore, urban in their origin and environment.
In Russian folklore, for example, it was an urban romance; even earlier - a ditty. TO end of the 19th century centuries, it became impossible not to notice it - it was present in huge quantities both in the city and in the countryside, but for a long time it was perceived as a subject unworthy of study, as a corruption of “real” folklore.
Mastering this material was painful and difficult. Only at the very beginning of the twentieth century, Dmitry Zelenin, a remarkable Russian folklorist and ethnologist, almost for the first time in his article “New trends in folk poetry“said soberly and clearly that both the ditty and the urban romance also have the right to study.
The new government established in 1917 did not sympathize with the peasantry. On the contrary, the attitude towards him was either wary or hostile, even hostile, and accordingly his cultural traditions also did not arouse interest. This is on the one hand.
On the other hand, by this time the qualitative changes in folkloristics, attention was awakened to the language of the city street, which professional folklorists, in particular N.E., began to study. Onchukov, A.M. Astakhova, E.V. Hoffman (Pomerantseva), and linguists and literary scholars - R.O. Yakobson, V.B. Shklovsky, S.I. Kartsevsky, A.M. Selishchev and others.
All this stopped in the early 30s: the study of urban folklore forms was practically banned. Then - a half-century failure. Urban folklore comes down to the so-called workers' folklore - a forcibly isolated, and partially falsified - segment of tradition, from which protest, satirical, profane, "thieves", "philistine" texts have been removed. But even in this form it remains ideologically inconvenient, and therefore is studied mainly from pre-revolutionary texts.
As for the subject itself, the following must be said here. The folklore of rural communities differs quite greatly from the folklore of the city street. First of all, in the village it covers almost the entire culture - there the farmer, the shepherd, the blacksmith, and the village priest are served by the same traditions, the same system of rituals, the same texts.
And urban folklore is fragmented. It is much more connected with written forms, with the author's beginning. Moreover, for a city dweller he is ideologically marginal: a city person satisfies his ideological needs differently, using other products - mainly related to mass media and mass culture.
Rural folklore is dialectal and regional - these are the traditions of one village, one region, one region. Urban is a “sociolecten”: it is more typical for certain social groups - gender, age, professional, amateur... - which do not have a strong territorial determination.
And most importantly: none of the forms of “classical” folklore - neither its genres nor its texts - practically survived in the city. From this point of view, folklore as such, in its “classical” phase, really goes away - but appears new look oral culture. That’s why I proposed to designate it with the term “post-folklore,” that is, “after-folklore,” as it were. It differs from folklore “classics” much more significantly than “classics” from archaics, although even there the difference is quite large. Other genres, other texts also appear there, but still there are much more parallels, crosshairs, and connections between them. We do not have the opportunity to observe the transition between “classic” and archaic, but the transition to post-folklore is happening almost before our eyes, and from a scientific point of view this is extremely valuable.
- And how did it all start again in the 90s?
- I can tell you about personal experience. At philological faculties it is customary to conduct folklore practice. However, in the early 1990s there was no money for expeditions, and the situation - everyday life, transport ... - became unclear. But practice is necessary. And then Andrei Borisovich Moroz, who teaches Russian folklore at the Russian State University for the Humanities, and I decided to hold it in the city. To some extent it was due to poverty.
They sent students to collect songs: yard songs, school songs, camp songs - any that live in folklore. This is the most understandable urban genre, it is the easiest to record. With jokes, for example, it’s more difficult. You can ask a person: “Sing a song,” and he will sing if he knows how and if he wants, but to tell a joke, you need a special situation - it can be caught or even provoked by a skilled folklorist, but not by a student trainee.
They wrote down some songs, and there were a lot of rather interesting observations. This is where it all started.
- Were you the first to start doing this with us?
- Almost. The first was actually a St. Petersburg folklorist and an old friend of mine, Alexander Fedorovich Belousov. He initiated the study of both children's folklore and urban folklore. In the 70s - 80s, he published two brochures at the Tallinn Pedagogical Institute, where he then worked, for correspondence students; He also compiled the first collection of materials and research on children's folklore, which was very colorful. This was not about classical children's folklore, on which works were written at the beginning of the twentieth century, but specifically about modern forms: fortune telling about the Queen of Spades, horror stories, sadistic poems... This two-volume book was printed on rotaprint, also in Tallinn, and read to the gills. I wasn’t involved in children’s folklore either then or since.
In the 90s, we still had to prove that such subjects can and should be studied. In 1996, we began work on a project on modern urban folklore and a few years later we published a whole volume of research devoted to it. The participants in this work, mostly young, consisted of six Russian cities. We learned with difficulty, painfully, to speak the same language: it was an undeveloped area. All this was infinitely difficult and wonderful - as always on a new field.
But time goes by quickly, new generations are coming into science - and now so many people want to study post-folklore! And there are only a few of those who would like to study folklore “classics”, say, epics.
Of course, the epic - dead genre, it doesn't exist now. But what of it - philologists study ancient literature. The science of culture tends - and rightly so - to concern itself with its past. If she doesn't deal with it, she won't understand her present. This is exactly what happens in our field: those who do not know how to understand “classical” folklore will not be able to cope with post-folklore.
Since childhood, I knew and loved the city song well, it was my tradition. Previously, especially before the early 70s, our fellow citizens, and not only young people, sang a lot. But in the 70s, cassette recorders appeared, which quickly turned active music-making - solo or in chorus, with a guitar, accordion, piano, or without any accompaniment - into passive music-making, into listening. The progress of technology in general has a strong impact on cultural forms. The gramophone, when it appeared, also had a significant influence on the song tradition.
Somehow, in my spare time, I began to remember how many songs I knew - not necessarily full texts, but at least in fragments, at least I know that such a song existed. I counted about a hundred. This is by no means the largest list - generally speaking, there are, according to my very rough estimate, two thousand of these songs in use or so. And this is in addition to very narrow traditions: say, songs of one school, one faculty, one circle, which also have a folklore existence, but usually do not go beyond the boundaries of any small community.
It seems that song as an active genre is dying now. People satisfy their need for singing in other ways - for example, through karaoke.
I look at my students - both current and former, now candidates of science, but still very young - they never sing! Even the oldest of them were born in the late 70s.
And the next ones - the 80s, early 90s - even more so. I don't even see traces of these traditions. There are, of course, people who love to sing, but as a mass phenomenon this is disappearing. Everyone lives inside their own capsule, even a musical one. Cultural forms change.
But the joke lives on - to a large extent having moved to the Internet.
- The Internet, presumably, has a strong influence on modern folklore forms?
- He both influences and is influenced by folklore, and at the same time he himself is an environment very similar to folklore. There is a certain structural commonality here. However, “Internetlor” is a separate matter. Now they are doing this. I don't. In general, there are already dissertations devoted to “Internetlore.”
When folklore traditions move from archaics to “classics”, to writing, and in general, when a culture goes into writing, consolidation occurs literary material in fixed forms, often with marked authorship. The reverse process leads to the fact that the form becomes plastic, and the authorship goes away. This is clearly visible in the songs.
My student trainees in the early 90s asked: “And if they sing Vysotsky, should we record it?” So, if the singers do not know that the song belongs to Vysotsky, then this is folklore, and its variations are not constrained in any way. This is an absolutely clear criterion. Folklorization always leads to a lack of knowledge about the author...
- And about the sample text, probably, right?
- It’s more difficult with sample texts. For example, recordings of songs on records at one time had the same effect on folklore as original texts. When Utesov recorded “Gop-with-a-bow”,
“From the Odessa kitschman”, “Bagels” - his editions drowned out all other versions - and there were many of them! - and became dominant, having a strong influence on the entire subsequent oral tradition. Such a stable, fixed authoritative text - a publication or a record - that can be consulted can appropriately be called a “controlling authority.”
Culture moves mainly towards the fixation of its “messages”, hardening of forms, as well as the preservation of some individual principle in them - despite, of course, the impersonal mass principle is always present. The Internet, in a strange way, seems to take a step back: its forms are much more plastic than in the oral tradition. The texts circulating in it are easily separated from the author and become “nobody’s”: they are accessible to the editorial intervention of everyone who receives them. This is very similar to the folklore environment, although it does not at all repeat it.
- Are there special methods of working with post-folklore material?
- I would like to think not. The methodology is essentially general. The study of traditional and archaic forms provides the necessary research skill, which makes a scientist a folklorist. What in post-folklore is sometimes taken as a private invention of the author, then replicated, in fact sometimes turns out to be almost a mythological stereotype - and it can only be identified if you are oriented in world folklore. Here, too, “stray plots”, stable motifs, and stereotypes of oral rhetoric circulate - technologically, tradition is structured more or less the same here and there. Of course, there are also differences, but they can only be understood when you know how things were in the previous phases of its development.
Folklore has many parallels with literary tradition. Not to mention numerous “folklorisms,” that is, direct penetrations of oral elements into book literature, such parallels can be seen, abstracting from the personality of the author, in the very movement of literary material in time - starting from the sources accessible to us or reconstructed.
I have been studying Mongolia for many years. There are quite “classical” forms of folklore, although they retain a large number of archaic elements. Writing there dates back to the 13th century; Accordingly, there is a literary tradition. When Buddhism was adopted, the characters of its pantheon, now firmly entrenched in the mythology of the Mongols, were as new to them as they are now - realities forced to be mastered by folklore under the pressure of our modernity. Old traditions should not be understood as initially set and unchangeable - active cultural transformations have happened in the past. However, to understand them, it is useful to study living processes that we have the opportunity to observe directly.
I see one difference - and the main one. It is not about methodology, but rather about the researcher-material relationship. So I’m going to Mongolia as a researcher - I’m not a Mongolian and I don’t associate myself with Mongolian culture, although I’m quite familiar with it; my view is a view from the outside. Or: I’m going to a Russian village - it seems like my culture is there, but the village folklore is still not my texts, a certain distance still remains. Even a soil researcher, in love with the culture of the village, cannot remove his city from his memory. higher education. He remains a city man, and for him all these folk songs and rituals are still a foreign culture.
With urban folklore it is completely different: we are all, to one degree or another, bearers of tradition. And here other difficulties arise.
There is such a form: self-recording. Let's say I remember a song in order to fix it, but I forgot some parts. It seems that some other words can be substituted. But for a folklorist, this is a monstrous violation of the authenticity of the recording: I do not record what I heard, but make my own additions, substitute another word or give a different version, believing, for example, that it will sound better this way. Thus, I carry out my reconstruction of the text. However, this edition may be consistent with my scientific concept - and work for it. This is epistemologically unacceptable.
But I’m a bearer of tradition! So, is it still possible? Or not? Where are the limits of my arbitrariness? How can I separate my research self from my host self?
This is perhaps the main difficulty, although not everyone is aware of it.
Besides, as carriers, there is a lot we don't see. In the 90s, American anthropologist Nancy Reece spoke at our Russian State University for the Humanities and talked about her research into so-called “Russian conversations”, Russian talk (that’s what her book is called). Among other things, she recorded quite a few different complaints of our compatriots about life. “What is it called? - asked Nancy. - You have such a genre: I call it lamentation...” - I say: “Whining?” She: “Yes, yes, nytjo, that’s good!”
And we only noticed this genre for the first time then - precisely thanks to an external observer. And it really is a genre: a typical beginning, a stable structure, repeating components, and so on.
Or the cries of football fans - this is typical folklore. St. Petersburg folklorist Vladimir Solomonovich Bakhtin - one of the pioneers of the study of modern folklore - understood that it was possible to write down typical questions on the bus, the requests of beggars (also a genre: they have a stable intonation, some are even rhythmic), rumors, talk, gossip ... - things are absolutely folklore, transmitted in a stable form. There are urban legends and urban mythology that is expressed in these legends. In Moscow, for example, these are legends about Moscow basements, Kremlin or Lubyanka, about giant rats in the subway, about crocodiles in the sewers...
There are actually many such “speech genres” - just like in the village environment, they are just devoted to other topics. They mainly occupy the niche of “lower mythology” - ideas about master spirits - brownies, goblins, water creatures... - or about bearers of mythologized specialties: witches, sorcerers... In the city, this area of mythology looks a little different - as I already said, Folklore hardly passes from village to city. However, for example, traditional tales are being transformed - stories about meetings with spirits and, in general, about contacts with the other world.
This the oldest genre, according to written sources he is known back in Ancient China. A person meets a spirit, who rewards or punishes him - there are many similar plots, usually quite elementary.
There are, for example, stories about how a person finds himself in the realm of spirits or, conversely, how they appear in the world of people. A person gets there either by accident, or he is called or lured - for practical purposes. For example, you need to assist in the birth of a devil - they invite a midwife from the village, or you need a musician at the wedding of a devil; in another world it would probably be bad with this kind of specialists. The hero of the story returns rewarded, although sometimes these rewards backfire on him. Sometimes a kidnapping occurs with sexual intentions - say, a goblin takes away a girl he loves or feminine spirit takes possession of a man - let us remember Danila the master and the mistress of the Copper Mountain in Ural tales Bazhova. However, the latter form is not very typical for Russian folklore.
Usually people return from another world looking strange - speechless, half-crazed; some don’t live long after that... So, stories about UFOs are built according to absolutely the same template as these little stories. However, where the goals of the abduction should be indicated, there remains an empty space - traditional motives are clearly not suitable: you can’t play the violin and you can’t take birth from an alien! - and the latest pseudoscientific mythology has not developed stable models for this. The material for the ufological tale is drawn from science fiction- from books and films, so the set of realities turns out to be extremely poor: silver spacesuits, little people... The world of the traditional tale is rich in the picture of the world that is in the village, but here - only that meager assortment of fantastic images that was received from the television screen, and far from everything can be expressed in the language of oral history.
The field of post-folklore includes forms that are more related to the ethnography of the city - graffiti, for example - and, of course, parafolklore written forms - there are much more of them in urban life than in rural life. This is a whole series of written texts - authorless, copied from notebook to notebook, living almost according to oral laws: songbooks, albums, “holy letters” or “chain letters”... After all, not all songbooks are functional. Sometimes, especially in the album tradition, a song is recorded for more than just mnemonic purposes, although that is most likely the primary impulse. Rewritten song texts - say, in girls', soldiers', prison albums - become readable poem, is decorated with pictures and vignettes, turning into a valuable cultural product in its own right. The album tradition has its roots and its development. The modern album of all the named varieties has common ancestors: salon albums of the late 18th century, which in turn go back to European models.
- We see that the study of post-folklore is a new area of knowledge. What problems does she have to solve? After all, it is apparently just taking shape?
- It’s probably already formed. Conceptually, this entire subject field is more or less mastered and understandable. Next, I would say, is boring everyday work.
Unfortunately, little is happening in this direction. Well, some areas are being processed; but there is nothing comparable to what has been done, say, in the field of studying Russian epics. Of course, there is a disparate age here; but still, a whole library has been written about epics - although there are still a lot of unresolved questions in epic studies. Russian - and not only Russian - fairy tales, songs - on each of these issues there are bibliographies, large corpuses of scientific editions of texts... There is almost nothing here yet, critical corpuses of texts have not yet been collected, and without this their study is very difficult. But it's not just that.
“Postfolklore” is difficult to collect. People who write, say, jokes mostly get their material from the Internet. However, classical folkloristics requires recording everything from oral existence, because there is a huge difference between a written word, including on the Internet, and a spoken word.
Writing down post-folklore texts is difficult, sometimes they are simply difficult to notice, the pronunciation of some of them cannot be provoked... And there are simply technical problems. Let's say a beggar enters the subway and starts talking. At the same time, it’s hard to hear, it’s shaking in the subway, and you can’t record it on a tape recorder. And in some cases it’s scary to approach: this environment is very criminalized. It’s the same with urban song - in its natural existence. For example, there is a guy standing in an underground passage, singing with a guitar, next to him is a hat for collecting fees. But as soon as you start talking to him, a second one appears, probably his pimp: “What do you want?!” It’s easier with children’s folklore; children are more open.
In a word, we examined this field from a helicopter, we know what objects, areas, and boundaries exist here. And now we need to go down to each object in order to study it seriously and a lot.
Olga Balla
Magazine
Modern peasant and urban folklore (in my opinion, complete crap!!! I don’t know who was looking for this answer)JJ
Folklore in the “broad” sense (all folk traditional peasant spiritual and partly material culture) and “narrow” (oral peasant verbal artistic tradition). Folklore is a set of structures integrated by word and speech, regardless of what non-verbal elements they are associated with. It would probably be more accurate and definite to use the old one from the 20-30s. terminology that has fallen out of use. the phrase “oral literature” or not very specific sociological. limitation “oral folk literature”. This use of the term is determined by different concepts and interpretations of the connections between the subject of folkloristics and other forms and layers of culture, the unequal structure of culture in different countries of Europe and America in those decades of the last century when ethnography and folkloristics arose, the different rates of subsequent development, and the different composition of the main fund of texts. , which science used in each country. In modern folklore, four basic concepts enjoy the greatest authority, which at the same time constantly interact: a) folklore - orally transmitted common experience and knowledge. This means all forms of spiritual culture, and with the most expanded interpretation, also certain forms of material culture. Only a sociological limitation (“common people”) and a historical and cultural criterion are introduced - archaic forms that are dominant or function as relics. (The word “common people” is more definite than “folk”, in a sociological sense, and does not contain an evaluative meaning (“people’s artist”, “people’s poet”); b) folklore - popular artistic creativity or, according to a more modern definition, “artistic communication " This concept allows us to extend the use of the term “folklore” to the sphere of music, choreography, and depiction. etc. folk art; c) folklore - a common folk verbal tradition. At the same time, from all forms of common people’s activity, those that are associated with the word are distinguished; d) folklore - oral tradition. In this case, orality is given paramount importance. This allows us to distinguish folklore from other verbal forms (first of all, to contrast it with literature). Thus. We have before us the following concepts: sociological (and historical-cultural), aesthetic, philological. and theoretical-communicative (oral, direct communication). In the first two cases, this is a “broad” use of the term “folklore”, and in the last two – two variants of its “narrow” use.
Let's lie. folkloristics, striving to understand the general patterns of development of folklore, cannot but take into account the fact that it is perceived by the peoples themselves as a precious ethnic expression for them. specificity, the spirit of the people. Of course, the relationship between the universal and the specifically ethnic is determined each time by the specific conditions of the development of an ethnos - the degree of its consolidation, the nature of its contacts with other ethnic groups, the characteristics of settlement, the mentality of the people, etc. If we use the categories of generative grammar, we could say that general, international. patterns, as a rule, appear at the level of deep structures, and specific national ones - at the level of surface structures. If we turn, for example, to fairy tales or epic plots. songs (their international recurrence has been well studied), then one cannot help but state what their plots mean. degrees are international, and their embodiment in actual texts varies across different ethnicities. and local traditions, acquiring certain ethnic. features (language intimately connected with folklore, the realities of everyday life, beliefs, a set of characteristic motifs, from which, as A.N. Veselovsky said, “plots come to life,” especially images of heroes and their behavior, natural conditions, in which action develops, characteristic social relations etc.). Both fairy tale and epic traditions create their own world, as it were, which has no direct analogies in reality. This world is invented by collective fantasy; it represents a transformed reality. However, no matter how complex the connection between fairy-tale reality and true reality is, it exists and reflects not simply and not only something universal, but also the peculiarities of the existence and thinking of a certain people.
THIS IS WHAT I FOUND!!! (KATE)
Traditional folklore - these are the forms and mechanisms artistic culture, which are preserved, recorded and passed on from generation to generation. They capture universal aesthetic values that retain their significance outside of specific historical social changes.
Modern folklore reflects the current stage of development of folk art. It incorporates modern aesthetics, issues and artistic images. It is also a non-literate culture, the bearers of which are often marginalized sections of society. In the structure of modern folklore, we can distinguish the so-called neofolklore. This is everyday artistic creativity of an unformalized leisure nature, including simultaneously forms of folklore, mass and professional art, amateur performances, distinguished by aesthetic diversity, stylistic and genre instability, and acting as a “second” wave in modern folk culture.
Peasant folklore belongs to the peasant subculture. This is a fairly stable art system. It contains the labor, ethical, family, marriage and aesthetic values of farmers. Its archaic layers that have reached us represent in spirit and meaning the value system of the agricultural calendar and the culture of the peasantry, which combines the features of paganism and Christianity.
Urban folklore appeared in a later period, its widespread use dates back to the 18th century. It developed in constant interaction, on the one hand, with original art in its written (printed) forms, and on the other, with peasant folklore. The processes of borrowing from one layer of culture to another were very characteristic. They took place through bourgeois folklore, the ideas, images and artistic techniques of which were decisive for urban folklore.
Thus, we can state a wide variety of interpretations of the concept “folklore”. However, the definitions of folklore in a narrow and in a broad sense: as oral folk art and as a combination of all types of folk art in the context of folk life.
Rustic, shaping canonical mythologies and rituals various peoples, but modern urban folklore. Its units are usually called urban legends. The article attempts to describe the phenomenon.
Urban legend as modern folklore, the basis of modern cinema, fantasy literature and comics and its influence on language
Urban legend is perhaps one of the most underrated cultural phenomena. There are several reasons for this.
Secondly, the researcher of urban legends is faced with the problem of finding their sources, often collecting a rather meager amount of information, which makes their works manifest obvious excesses of interpretation that prevail over the facts.
The third problem follows from the first two - the image of the researcher of the phenomenon of interest in both American and Russian culture very close to the images of ufologists, overzealous supporters of conspiracy theories and writers and journalists at the level of the “yellow press” and fiction in general. This is due to the extremely low interest in this issue on the part of the public in general and the academic environment in particular. It often turns out that a researcher of urban folklore studies the results of the activities of the “yellow press”, but this does not mean that the quality of the work done is similar.
The phenomenon itself cannot be called modern, unlike the concept. It seems that the urban legend dates back to Ancient Greece. Herodotus’s descriptions of cynocephali, people with dog heads who lived on the borders of the ecumene, differed from ordinary people solely in the shape of their skulls, that is, they wore clothes and used tools, are quite well known. The role of these creatures was not revealed; there were only witnesses who saw them. One can only assume that this myth has certain connections with the cult of Anubis in Ancient Egypt and could have been conveyed to the Greeks in a distorted form.
Thus, the stories about Cynocephali were an urban legend as something “middle ground” between a real myth and a simple rumor, since the mythological role of Cynocephali is unclear, and they “appear” from eyewitness accounts and isolated written sources, that is, about the completeness of the information provided for city dwellers, it’s difficult to say. It is also important to note that evidence of Cynocephali appeared later, after the discovery of America, and spoke of their residence in both the Northern and Southern parts. This example clarifies the basic property of most urban legends: genesis due to lack of information.
Another option for the appearance of an urban legend is the adaptation of rural folklore to the urban landscape. This is where we talk about the Jersey Devil, a classic American urban legend. The lack of information is already affecting the stage of general features of the concept itself. So, there are two equivalent appearances of this creature: as a classic Scandinavian dragon and as a well-built man who has lost his cultural and social traits due to various circumstances, like the hero of R. Kipling’s “The Jungle Book”.
The first option is especially noteworthy. The description of the Devil does not have “positivity”; the descriptions evoke not so much awe as disgust and fear. Most urban legends, losing their literary quality and, in a sense, “epic” quality, acquire terrible features. Positive aspects creatures are not even suggested. Thus, the American dragon has a uniquely dark description of a winged, vile, devil-like creature that devours people and animals. It seems that his image is close, perhaps, to the description of Nidhogg from the “Younger Edda” by S. Sturluson: “People do not know what troubles the ash tree Yggdrasil has: Nidhogg eats the roots...” and “A fool cannot understand how many snakes crawl under the ash tree Yggdrasil... " Moreover, Nidhogg fed on the corpses of sinners, oathbreakers and vile murderers. His image is also dark, but he also has a positive functionality, unlike the “just” black Jersey Devil. Thus, this legend conveys fear to those who know it, reducing their comfort zone.
In general, it seems that the number of “light” characters transferred from the rural landscape is extremely small. An exception can be called fairies, who have turned from Celtic spirits, which are not always positive, into “cute creatures” (probably due to the popularity of J. Barry’s books). Most of the creatures and unexplained phenomena from urban legends are clearly “horror stories” with an improved argument based on the urban environment.
Also noticeable is the contrast between city and forest, which underlies most urban legends. From the ideas of V.V. Bibikhin in his work “Forest” contains little in urban legends. The forest is undoubtedly harmonious and flowing, but it is alien to man. It is credited with magical properties, like the Douglas Fir trees around the town of Twin Peaks in the series of the same name. It is where most of the characters in urban legends live: werewolves, the Jersey Devil, fairies, etc. The forest, from being the main supplier of resources for people in the process of urbanization, becomes a danger to them, and people who in one way or another have a professional connection with the forest are practically heroized: woodcutters, forest police and others. Often, it is their disappearances that become the reason for frightening speculation among townspeople. In addition, the largest number of “meetings with aliens” take place in the forest.
UFOs are without a doubt the biggest urban legend. Some people devote their entire lives to strengthening their own and public confidence in the validity of a given myth. It seems that it has an extremely complex origin. Having emerged as an everyday descriptive term, the unidentified flying object is endowed with a meaning close to the divine. So, when talking about an encounter with a UFO or the inhabitants of these objects, “eyewitnesses” always talk about a bright light. Here we can probably talk about similarities with insight and the strong relationship between light and the divine in general. Also always this context posits the assertion of incalculable technological and therefore mental superiority, similar to the apparent inequality of human and divine capabilities. Moreover, the very shape of the plate refers us to the symbolism of the circle and the sun. It seems that UFOs are very close to pagan ideas in which gods are able to appear in the material world for some purpose. That is, this is the transfer of the attributes of pagan religion to an unknown technical object, that is, religious fetishism.
The urban legend of UFOs also undoubtedly contains multiple frightening elements, just like pagan gods and magic. This fear of the unknown and dangerous is close, it seems, to the fear of pagan gods: it partially turns off the rational approach to the information received, lowers the threshold of trust in what is said, turning a rumor or someone's low-quality fantasy into a real force and incentive for certain types of activities as frightened, and those who want to make money on this fear.
With the advent of mass culture, urban legends gain increased mobility thanks to television and the Internet. There are proposals for consciously experiencing base fear as a service. Cinema, video games, comics. Most of the products in these areas are of the same type: people receive visualized fear stimulants, which are most often urban legends (both mythological and everyday ones, like stories about maniacs). The ideas for creating such products are very mediocre; it is extremely rare to replace (not think through) the “second bottom” in them. However, among these creations there are also cult ones, and, as a rule, deservedly so. They mean the series " X-Files" and the comic book series "Fables".
"The X-Files" is, apparently, the main and most serious visual collection of urban legends. The creators did a lot of work collecting information for the script for each episode, conveying the atmosphere and content of urban mythology exactly as described by “eyewitnesses” and tabloid newspapers. The protagonists Mauder and Scully themselves find themselves witnessing “paranormal phenomena.” It is important that the two characters show fundamentally different approaches to urban legends. Thus, Agent Mauder is a gifted fanatic specialist who sincerely accepts any non-trivial rumor on faith, while Scully adheres to scientific approach. Most investigations traditionally lead them into the dark depths of the forest, strange settlements of various sectarians, sewers and other places that cause fears on the part of the townspeople, accompanying viewers to their main objects of fear.
It is important to note that the information is presented in a naturalistic manner, the work of the investigators looks quite real, and “paranormal phenomena” are presented along with seemingly significant scientific research. Moreover, in the first episode of the first season, before the start of the show, the announcer “casually” states that the script is based on eyewitness accounts, which changes the viewer’s mood. This fact, together with the excellent work of the costume designers and make-up artists for those times, provided the series with cult status. Moreover, the naturalism and meticulousness in the presentation of urban legends turned the series itself into a legend, raising questions about where the “documents” for the script were taken from and who gave the right to film “secret military sites.” The incompleteness of the information provided by the creators did its job.
Another interesting product of mass culture is the comic book “Fables,” which is practically unknown in Russia, but cult in the United States. It seems to represent a healthy irony of urban mythology. The basis of the plot of the comic is the fact that all the famous characters from fairy tales and folklore moved to New York as a result of malice the main antagonist, the "Mysterious Villain". The characters merge with the urban environment and stratify along the social ladder, acquiring typical problems: family quarrels, alcoholism, work and others. The main condition for staying in the city for them is the ban on showing their true appearance and essence in order to ensure the peace of the townspeople. However, sometimes some characters - usually evil ones - violate this prohibition, and then representatives of folklore working in the police have to cover their tracks behind their brothers and drive them out of the city to the “Farm”, a place for characters who could not get along with people. This comic exaggerates the fears of the townspeople, despite the “serious” drawing and plot, as a “second bottom” it has a satire of urban fears.
In terms of language, an urban legend is not far removed from classical folklore. It is presented informally, one might say intimately, like rumors. In a sense, it is close to the phenomenon of gonzo journalism. Thus, factuality is blurred - fiction and deep descriptions of the personal experiences of the narrator, writer, used for the purpose of an emotional, but not common sense reaction of the listener, the reader, predominate.
As mentioned earlier, urban legends are increasingly penetrating mass cinema and literature in the form of popular stories in the horror genre (S. King), modern detective stories (D. Brown, S. Larsson), and novels (S. Mayer). These authors are classic reading for the modern average person. They do not carry non-trivial instructive moral ideas, but only tell a supposedly interesting story, without having, like any mass literature, a second bottom. The key intention when writing is only commercial success. Thus, as a promotion for purchase, the number of copies sold is often written on the cover of books, but not a detailed description of the contents.
Thus, urban folklore, with the advent of mass culture, began to greatly influence the aesthetic ideas of ordinary citizens, especially teenagers. This is manifested primarily in American culture, which is heavily dependent on comics, science fiction series and literature. However, since the beginning of the 1980s, this trend began to affect Russian readers and viewers. More and more people prefer films about Alien, novels by S. King and detective stories by D. Brown to classic works. These books are not moralizing - they fundamentally cannot educate or educate people in the usual sense of the word. However, they influence the speech of a modern person, making it more vulgar, personal, and base.
On the other hand, the lack of a second bottom and instructiveness of the products of modern mass culture prompts some intellectuals to “attribute” this second bottom to them, and in a rather strict manner. So, A.V. About a year ago, Pavlov wrote an interesting work, “Shameful Pleasure,” in which he examines bad mass cinema from a philosophical perspective, showing the general interest of bad cinema under the condition of the so-called queer interpretation, which consists of attributing different conceptual concepts to certain works in order to make it more interesting and “meaningful.” » view. Also, a collection of articles “The Simpsons” as Philosophy has been published for quite some time,” some of the works in which had really interesting philosophical interpretations. Thus, modern cinema, with its simplicity, manages to encourage some intellectuals and connoisseurs of mass culture from the point of view of external aesthetics to quite serious cultural and aesthetic studies, which are in serious demand from readers thanks to the tags they are familiar with on the covers, coupled with the attractive word “philosophy”.
In summary, modern cinema and literature do not have intrinsic value in the matter of cultural education, but some studies of them by philosophers and culturologists can awaken in the mass reader interest in much more sublime things, as philosophy allows, through queer interpretations, to make some books and films valuable from an educational point of view .
Features of modern news presentation: from announcer to “kitchen” interlocutor
In the past, sports commentators and newscasters were true examples of ideal oral speech: their language was distinguished by dryness, formality, grace and an unambiguous relationship between the sign and the signified.
Recently, the style of broadcasting has changed a lot. So, it became more informal. Today's typical news anchors no longer read information from sheets prepared for them by speechwriters, but conduct a conversation with the viewer. Moreover, structurally one of the key news programs for Russian television viewers, the final Sunday program on the Russia 1 TV channel, is completely structured as the reflection of the presenter himself. Without a doubt this new form delivery, presenting the speaker not as a speaker, but as a mentor, mentor.
The subjectivity of the information given, coupled with smooth and measured gestures and, at times, undisguised value judgments of the form “in my opinion, this is...” gives us a person who not only introduces the viewer to the news that has happened during the week, but also a person who has the desire to communicate his personal opinion to the listener , from the point of view of the lexicon, in an almost friendly conversation that inspires trust (in addition to the authority of the speaker himself).
As a result, television is openly engaged in educating its audience on political and aesthetic issues. Without touching on value judgments, the modern education of citizens through television cannot be called abnormal; the question lies, rather, in the degree of undisguised opinion. Even A. Tocqueville, in his work “Democracy in America,” spoke about the danger of “soft despotism” in a democratic system. Thus, it is obvious that the state does not govern individuals, but the masses. Consequently, the mass must be created - the only question is the means to achieve this goal. It could be terror, or it could be education.
The modern tendency towards atomization of individuals shows their disunity due to the competent presentation of information. Thus, outwardly apparent calmness predisposes to inner and actual peace. Thus, television in modern society openly and effectively replaces classic books as a resource of information, both factual and evaluative, playing a serious role in the education of the average modern person.
Conclusion
Undoubtedly, the classics are losing their role as a culture-forming force. However, her place is not empty. It is effectively replaced by the media and, under certain assumptions, modern literature with the proper form of comprehension. It is difficult to say whether this is good or bad, but education happens.
On the one hand, it is avant-garde in terms of application latest technologies, on the other hand, it is extremely archaic and thanks to modern adaptations of folklore in the form of urban legends, in which even some magic is visible. This extremely unusual almost dialectical unity carries modern humanity into the next day. The only question is what the final product of such an era will be.