In folklore, its own children's folklore- folklore created by the children themselves, and folklore for children - works compiled by adults, who usually perform them for children.

G.O. Bartashevich, who deeply researched children's folklore and published a monograph on its main genres, gives the following definition of specific artistic creativity:

“Folklore for children is a complex set of genres, different in nature, time of origin, practical and functional purpose and artistic design.”

She identifies the following genres in children's folklore: “lullabies, children's songs, teasers, counting rhymes, toss-ups, tongue twisters, games, stories, fairy tales, riddles, ditties, children's jokes.

Recently, “horror stories”—stories about terrible events—have emerged as a separate genre.

As can be seen from this list of genres, children's folklore is closely related to traditional oral poetry in general and has the same genres.

Analysis of works of children's folklore of different genres allows us to conclude that traditional artistic techniques are widely used, visual arts, rhythms, stereotypical images from the poetry of “adults”.

But in most genres, a specific artistic form of children's folklore reflects reality, a unique figurative system, appears.

A characteristic feature of many works of children's folklore is the combination of artistic text with play, with the advantage of a didactic function, although in general they also exhibit cognitive, aesthetic, and ethical functions, in such a way that we can rightfully call children's folklore multifunctional.

Some researchers identify maternal folklore, which is essentially related to folklore for children, which includes lullabies, pestushki, darkness, jumping, riddles and other works.

Lullabies

Lullabies are songs that a mother sings to her baby to put him to sleep. The name of the song is due to its performance: it is sung while rocking a stroller with a child.

Ancient lullabies, due to their origin and stable existence, have not lost their functions and popularity in our time.

The purpose of lullabies - to calm the child - is achieved by all its content and manner of performance: the child is kindly and gently encouraged to sleep, while referring to animal characters - “helpers” in the house, capable of taking upon themselves all the evil so that the child is healthy.

The most common characters in lullabies, besides the top, as in the above song, are chickens, cockerels, and pigeons.

G. A. Bartashevich reasonably noted: “Extreme melodiousness is created by singing individual words, sounds, and the use of words with diminutive suffixes.

Not the least place here belongs to the common repetitions in time with the swing.

Another popular genre in children's folklore are nursery rhymes, which not only entertain the child so that he does not cry, but also invite him to participate with his fingers, arms, and legs.

For example, nursery rhymes for water procedures:

Counting books

A kind of game is a counting rhyme. Counting tables are humorous poems that are said or sung to determine the order of the participants in the game. For example:

The one who said the counting rhyme pointed to each participant in turn, and when the words “That one will go” or “I won’t drive,” etc., the participant in the game to whom these words fell came out and became the leader or performed another role - dropped out of the game (depending on the conditions).

Songs for children

Children's songs are varied in theme, the main function of which was entertainment. This was facilitated by interesting content, often surreal, especially in songs whose characters belong to the animal world, but behave like people and sometimes act in ordinary peasant living conditions.

These songs are characterized by humor. Here's an example:

Some children's songs have a cumulative structure similar to cumulative fairy tales. They represent a dialogue. Here's an excerpt:

Teasers

Small children's teasing poems, which are characterized by ridicule of a certain character trait or external appearance of a person or personified animal, etc., stand out for their witty humor, sometimes caustic:

Games

Games were especially popular with children. A perfect classification of them has not yet been developed.

E.R. Romanov highlighted Mind games(games that develop children's intelligence, intelligence, ingenuity, etc.). and physical games (they help develop dexterity, strength, etc.).

G. A. Bartashevich divides children's games into two categories: games as artistic and dramatic action and games as a means of physical education.

Many games are related to agriculture, the economic activities of peasants, their life and way of life.

In the distant past, games that depicted agricultural activities and animal husbandry undoubtedly had a magical function (“Radish”, “Sheep”, etc.).

Now the magical function has been lost, the main ones have become funny, entertaining, educational, and educational.

Children are especially interested in round dance games, in which singing and dancing are synthesized to a certain melody.

Round dance games are structured in different ways, but what they have in common is the participation of a group that performs a dance and singing in a round dance. First, a dancing couple is created with the further involvement of everyone, then the couple breaks up in the process of conducting a round dance, during the process of conducting the round dance, the pairs go out into the circle one by one, the girls walk in small steps, then the one named in the song completely leaves the game.

A short description of children's folklore does not cover all aspects of the multi-genre children's creativity and folk art for children. We focused on the most important ones in order to show the role and significance of children's folklore and its specifics.

D.F. as a type of oral verbal art, it has retained the echoes and realities of life of many generations of people.

Collection and scientific research began late in the 60s. XIX century (Bessonov - the first publisher; Shane - carried out the scientific publication of a large number of texts; Vinogradov and?... - contributed enormously)

1970- Melnikov “Russian children's folklore of Siberia”.

In the XX age division of children's folklore.

XX-XXI - serious interest in children's folklore in general.

Plays a big role:

Communication activities. Has its own habitat, ped. Orientation, psychophysiological.

Expansion of the folklore field, new methodological principles relating to the very concept of “folklore”, achievements of modern domestic and world science about childhood (G.S. Vinogradov, L.S. Vygotsky, I.S. Kon, D.B. Elkonin, Margaret Mead , Jean Piaget, E. Erickson, M.V. Osorina, etc.) made its own adjustments to the idea of ​​the volume, content and boundaries of the category “children’s folklore”. Today, children's folklore is a vast, specific, multi-component area of ​​folk art, including classic children's folklore (this is primarily “nurturing poetry,” i.e. works created and performed by adults, folklore texts borne by children preschool age) and school folklore in its oral and written forms, including speech formations that have become part of the children's tradition.

Modern understanding of the category “children’s folklore” requires awareness of its specificity, to identify which it is not enough to consider children’s folklore only in line with folk tradition and folk pedagogy. This requires equal attention to both words (and the phenomena behind them) of the concept of “children’s folklore”.

Undoubtedly, children's folklore is, first of all, folklore; it belongs to the culture of tradition, which is based on typological continuity and typological repetition. Children's folklore cannot be considered outside the general theory of folklore, the theory of genres, genesis and mythology, and historical poetics.

At the same time, children's folklore, if we talk about it in the context of folk tradition, has its own characteristics. Children's folklore does not know a storyteller in the generally accepted sense of the word in folklore. Folklore knowledge, which includes not only the performance of the text, but also the situation in which it is reproduced, is determined not by the characteristics of the child’s memory, but by his play activity. It is in playful forms of behavior that the experience of many previous generations is reflected, combined with the creativity of a particular child.

Children's folklore does not know monogenres that require special epic memory.

The study of performance in children's folklore in the light of information theory led S. Loiter to the conclusion about the peculiarities of contact communication, when the very fact of pronouncing a text occurs not in a performer/listener setting, but in various forms of play activity of children, repeating the same ones from generation to generation forms of creativity. In an atmosphere of lively, natural communication between children, every act of performing, pronouncing a text thanks to “picking up” (V.E. Gusev’s term), involvement in the game becomes an act of reproduction and transmission when feedback arises. And then, based on the traditional model, the birth = execution or recreation of the text occurs. This is how certain patterns of folklore creativity reveal themselves specifically in children's folklore.

In the formulation and approaches to the problem of specificity, the concept of children as a subethnic group, which has been developed in recent years, seems fruitful and important. Children, as an independent subethnic group within the framework of various ethnic groups of the world, turn out to be the bearers, guardians and creators of their own subculture, which is determined primarily by the presence of their own “picture of the world.” Children's folklore, which is the language of children's subculture, serves as the most important means of forming, preserving and transmitting a picture of the world.

Thus, the most important context for the functioning of children's folklore is childhood as a special sociocultural phenomenon. The length of time, dynamism and intensity in the development of a child allow researchers to talk about the polystadial nature of childhood, identifying three “epochs” (D.B. Elkonin), three “stages, periods” (M.I. Lisina, Philippe Ariès), three “phases” "(E. Erickson). The fruitfulness of such differential study makes it possible to trace how the child’s development process occurs, his thinking, speech, how his system of ideas develops, what psychological constants, emotional and “cultural” experiences of objects dominate at different times in childhood. And this has a direct bearing on the conditionality of the replacement of some age-specific forms of folklore by others, on the process of formation and existence of genres that belong only to children's folklore.

The earliest infantile, “pre-phonemic” (L.P. Yakubinsky) period of a child’s life is associated with the existence of a lullaby - one of the main components of nurturing poetry. Lullabies, like other works of lyric poetry of motherhood, already at the preconscious (for the child) stage fulfill the very important task of including him in the process of “culturation”, growing into culture. And it happens with the help of such artistic forms that correspond to the psychological characteristics of each age stage childhood.

The “pre-speech phase”, “pre-speech stage” (L.S. Vygotsky) of infancy is the period of “phonetic monism” (L.P. Yakubinsky), the time of humming and babbling, the time of repetitions - “echolalia” (J. Piaget), which belongs to the role of a simple game. These patterns of children's thinking and speech reflect such primary maternal genres of children's folklore as nursery rhymes, pestushki and jokes with their various onomatopoeic combinations.

By the end of the third, in the fourth year of life, when the child masters speech, assimilating the grammatical structure of the language, the line between children's speech and poetry is increasingly blurred, poetry comes from children's babble, a period begins when “poems are the norm of human speech” (K. Chukovsky ). This is the beginning of that period of childhood, which is distinguished by a special manifestation of imagination, “when fantasy is most developed” (L.S. Vygotsky). It was at this time that children’s folklore itself actively existed, created, performed, and transmitted by the children themselves. It turns out to be a form of collective creativity, enshrined and implemented in a whole system of stable texts, which are passed down from generation to generation of children and are important in regulating their play and communicative activities.

In the existing system of genres of children's folklore, what is a product of the creativity of children themselves is a large layer of texts. They were created by a child artist, a child poet/linguist. But an even greater place in children's folklore itself is occupied by texts that are used by children in a more or less modified form from the folklore of adults. From their traditional culture, children learned, adapted, and made “their own” that which best suited their needs, age-related interests and characteristics, “their quest for high joy.” They didn’t just mechanically use what was ready, but transformed it, transformed it, introducing a playful element. Selected from the folklore of adults and assimilated by children, it underwent a long process of polishing and crystallization of form, obeying the genetically inherent sense of rhythm, verbal talent, and need for play and word creation in children.

The characteristic, constitutive context for the functioning of children's folklore is play. The playful character, playful nature is its fundamental feature. A child is initially a “person who plays.” Therefore, the division into gaming and amusing seems artificial. Semantically, this is the same thing: to play, according to Dahl, “to have fun, to spend time having fun, to do something for fun.” Children's satirical folklore is considered as a phenomenon of playful speech behavior of children, playful word creation.

There are often cases when literature becomes a source for children's folklore. This is due to the peculiarities of the functioning of children's folklore, when the bearer of folklore is simultaneously a reader/listener of literary texts. There are numerous examples of folklorization of literature, when parts of a poem or individual lines of famous children's poets are turned into a counting rhyme or an alteration song. In the very process of existence, there is a certain “flow” of folklore into literature and vice versa.

Thus, the specifics of children's folklore are considered in the light of: a) folk traditional culture, b) the culture of childhood, c) folk pedagogy and maternal school, d) modern theory of childhood, e) child psychology as a specific area of ​​psychological knowledge, f) general theory of childhood speech and speech behavior, g) the “verse period” in a child’s life, h) the theory of communication and communicative behavior, i) the theory of play as one of the universal concepts of anthropology, history and culture; j) in the “mirror” of children’s literature, as well as autobiographical, memoir and diary literature. It is quite obvious that studying the specifics of children's folklore is associated with the involvement of new objects in the orbit of research, which take it (children's folklore) out of the sphere of only traditional culture and folk pedagogy. The connotation of the term, due to its belonging to childhood, clarifies the nature of the phenomenon, which is interdisciplinary in nature.

Just as children's folklore is not just folklore, but - and this is the main thing - children's literature, children's literature is not just literature, but children's literature. Their typological commonality is determined by relevant, inherent properties only, explained by their belonging to one psycho-socio-cultural phenomenon - childhood.

Unlike children's folklore, the specifics of which have not been studied enough, the study of the specifics of children's literature has its own considerable history. In our justification, the specifics of children's literature are “read” not only within the framework of literary criticism (as the art of words) and pedagogy, but also in broad connections with anthropology, psychology, the theory of children's speech, and cultural studies.

Conceptualization, methodologically new justification for the specifics of children's folklore and children's literature as related phenomena of an interdisciplinary nature in the main contexts of their functioning is the subject of special study in the works of S.M. Loiter.

One of the important topics of research is children's mythology, the mythological component of the children's subculture. The study of the ritual and mythological genesis of children's poetic classics made it possible to trace how the poetics of children's folklore was formed as primarily playful. The search for the “beginnings”, the prototext of the question-answer structure of children's folklore was carried out on the material of the joke “Goat, goat, bast eyes” (in its multivariance) and aimed at justifying the self-determination of the play form as the result of long-term transformations, evolution and “desemantization” that the text has undergone before becoming child's play. How it became that “previously it was a matter of faith and knowledge”, how one of the main figures of poetics was formed - personification, which is based on typically mythological children’s thinking with its “naive humanization” and “universal personalization”, can be traced when considering the mythopoetic motifs of water , rain in a children's pestle and a call addressed to the rain. The study of the cumulative form with its many different and multivariate types of repetitions testifies to how ritual and myth, preserved only at the glottogenetic level, determined the style, structure and tropics of the established game text, and became the primary source of its poetic imagery. An acoustic image, an acoustic characteristic as one of the components of the overall picture of the world in children's folklore is its sound speech, which for the first time turns out to be the subject of study. The identified four groups of word sounds (onomatopes, interjectional words, zaum and secret language) allow us to trace the evolutionary antiquity of this figurative layer and indicate the presence of myth as an essential element of poetic language. Varieties of sound speech are studied not only as phenomena of the poetics of children's folklore within the framework of a particular genre, but also as phenomena of its specificity, due to psychological characteristics development of children's thinking and speech.

The interpretation of the ritual-mythological genesis of the playful poetics of children's folklore identified the archetypal layer that was the arsenal, the source of poetic imagery and figurativeness, predetermining the primary elements of the poetics of children's author's verse. Children's poetry in its own form, children's poetry as a separate area of ​​art and poetry, as a special type of lyricism, in which the specifics of children's literature are manifested with the greatest completeness and expression, is an independent topic in the works of S.M. Loiter. The author argues that it was precisely from the twentieth century, the time of the penetration of children's folklore into books, that children's poetry became a space for the rooting, resurrection and renewal of various forms of folklore in individual creativity. Children's poetry has found its own voice, its own repertoire, its own key existential themes, its own substantive imagery, its own “graphics” and rhythm, its own “formal image of verse,” its own language, which has been spoken by several generations of poets. Almost simultaneously with the poets who began their journey with “going to children,” folklorist writers (O.I. Kapitsa, N.P. Kolpakova, T. Mavrina) turned to children’s poetry and created their own literary poetry of nurturing.

The basic principles of the poetics of children's verse are examined not at the level of idiostyle, but at the level of a system with inherited and rooted universals of poetics. They give reason to talk about children's poetry as a specific area of ​​art and poetry, in particular. It is necessary to stipulate that many poetic techniques are characteristic and represented in “adult” lyrics, but in children’s poetry they exist in their concentrated, “condensed” form.

One of the most productive genres of children's folklore, adopted by literary creativity and preserved in the same genre quality in children's poetry, is the traditional lullaby. There are numerous examples of assimilating the poetics of the foremother, updated and enriched by individual vision. The same type of folklore-literary interaction is the inclusion in the genre range of children's poetry of such folklore genres as counting rhymes, riddles, patter, and fables. More common is another type of folklore reception - the assimilation and use of one plane of poetics of certain genres in children's poetry. The most significant example is the rhythm of the counting rhyme, which has become the dominant feature of children's verse.

CM. Loiter identifies the universals of the poetics of children's verse, which go back to children's folklore and complement the well-known “Commandments” of K. Chukovsky. First of all, they concern one of the distinctive features of children's verse - its vocabulary, the predominant lexemes of which are substantives with signs of concreteness. The dictionary of children's poems is his universe, and this is the world of objects, large and “small” things that are poeticized, freeing themselves from staticity and inertia, topicality and heaviness, being drawn into the atmosphere of rapid movements and actions. Word creation and word play, pronominal poetics, reflecting the egocentrism of children's speech and expressed in “egocentric words”, the special function of the demonstrative pronoun “this”, dialogicity and question-answer form, special rhythmic organization and intonation structure, sound images - these fundamental principles of children's verse are revealed and interpreted on a large artistic material.

A different synchronous nature of the interaction between children's folklore and children's literature, considered by S.M. Loiter as two communicating vessels with a special “mechanism” of interconnection can be traced in the study of modern children's mythology (one of the genres - children's mythological stories - was discussed above).

Children's folklore is an ancient art and traces of its antiquity can be found in some genres. Most genres of DF do not know extinction and actively exist among modern children. The collection and research of DF in Russia began late: in the 60s of the 19th century. Among those who were among the first to turn to children's folklore, it should be noted P.A. Bessonov and P.V. Shayna. Shane not only identified DF as a separate section, but also tried to classify it.

Interest in DF was not always active. From the 30s to the 70s of the 20th century, almost no significant research appeared. And only in 1970 the work of M.N. was published. Melnikov "Russian children's folklore of Siberia."

In the last third of the 20th century, the age division of children's folklore became pronounced. In its array, school folklore stood out autonomously.

The term DF usually refers to independent children's creativity, works of traditional adult culture assimilated by children, and creativity of adults for children.

Children's folklore is a specific area of ​​folk art. Its content, genre composition, choice of artistic means and images are determined by the child's worldview. The functioning of the DF is closely related to the game. Action games help a child learn about the world. Playing with words, sounds, and successfully found ways develop the child’s speech culture. Folklore plays a major role in the communicative activities of children. DF has its own habitat (adult - child, groups of children of different ages, group of children of the same age). G.S. Vinogradov noted the pedagogical orientation of children's folklore. DF has a psychophysical effect on the child: it causes joyful emotions, coordinates the baby’s movements, develops speech, teaches to overcome fear. DF has a specific genre composition that corresponds to the characteristics of the child’s perception and development. For preschool children, lullabies, nurseries, nursery rhymes, counting rhymes, and teasers are important. Children themselves are not carriers large quantity folklore genres - neither the child’s memory capacity nor the mobility of children’s interests contributes to this.

children's folklore lullaby song

Children's folklore is usually called both works that are performed by adults for children, and those composed by the children themselves. Children's folklore includes lullabies, pesters, nursery rhymes, tongue twisters and chants, teasers, counting rhymes, nonsense, etc. Children's folklore is formed under the influence of many factors. Among them are the influence of various social and age groups, their folklore; mass culture; current ideas and much more.

Contemporary children's folklore

Modern children's folklore has been enriched with new genres. These are horror stories, mischievous poems and songs (funny adaptations of famous songs and poems), anecdotes. Modern children's folklore is now represented by a very wide range of genres. The oral repertoire records both works of historically established genres of oral folk art (lullabies, songs, nursery rhymes, chants, sayings, etc.), as well as texts of more recent origin (horror stories, anecdotes, “sadistic rhymes,” alterations-parodies, “ evocation”, etc.).

They sat on the golden porch

Mickey Mouse, Tom and Jerry,

Uncle Scrooge and the Three Ducklings

And Ponka will drive!

Returning to the analysis of the current state of traditional genres of children's folklore, it should be noted that the existence of such genres of calendar folklore as chants and sentences remains almost unchanged in terms of text. As before, the most popular are appeals to the rain (“Rain, rain, stop…”), to the sun (“Sun, sun, look out the window…”), to ladybug and a snail. The half-belief traditional for these works is preserved, combined with a playful beginning. At the same time, the frequency of use of nicknames and sentences by modern children is decreasing, practically no new texts are appearing, which also allows us to talk about the regression of the genre. Riddles and teases turned out to be more viable. While still popular among children, they exist both in traditional forms(“Went underground, found little red riding hood,” “Foam Lenka”), and in new versions and varieties (“Winter and summer in the same color” - black man, dollar, soldier, menu in the dining room, nose of an alcoholic, etc. .). Such an unusual type of genre as riddles with drawings is rapidly developing. Folklore records recent years contain a fairly large block of ditties. Gradually dying out in the adult repertoire, this type of oral folk art is quite readily picked up by children (this happened at one time with works of calendar folklore). Ditty texts heard from adults are usually not sung, but recited or chanted in communication with peers. Sometimes they “adapt” to the age of the performers, for example:

Girls offend me

They say that he is short in stature,

And I’m in Irinka’s kindergarten

Kissed me ten times.

Such historically established genres as pestushki, nursery rhymes, jokes, etc. almost completely disappear from oral use. Firmly recorded in textbooks, manuals and anthologies, they have now become part of book culture and are actively used by teachers, educators, and are included in programs as a source of folk wisdom, filtered over centuries, as a sure means of developing and educating a child. But modern parents and children in oral practice use them very rarely, and if they reproduce them, then as works familiar from books, and not passed on by word of mouth, which, as is known, is one of the main distinctive features of folklore.

Children's folklore is specific area of ​​oral artistic creativity, which, unlike the folklore of adults, has its own poetics, its own forms of existence and its own carriers. A common, generic feature of children's folklore is the correlation of an artistic text with a game. In the 1860s, K. D. Ushinsky paid serious attention to children's folklore; At the same time, its systematic collection began (collections by P. Bessonov, E. A. Pokrovsky, P. V. Shein). In the 1920s, new texts were published in the collection of O.I. Kapitsa and the term “children’s folklore” itself, proposed by G.S. Vinogradov, appeared. The most complete anthologies of children's folklore were compiled by V.P. Anikin (People's Wisdom: Human Life in Russian Folklore. Infancy. Childhood.) and A.N. Martynova (Children's Poetic Folklore). At the end of the 19th - beginning of the 20th century, verbal texts were studied and classified into genres in children's folklore, and relic elements of adult folklore preserved in them in a transformed form were identified (for example, the archaic ritual roots of children's games). In modern science, new problematic aspects have emerged: the inner world of the developing personality of the child; children's folklore as a regulator of the child's social behavior in children's team.

Children's folklore is part of folk pedagogy, its genres are based on taking into account the physical and mental characteristics of children of different age groups (infants, children, adolescents). The artistic form is specific: it is characterized by its own figurative system, a tendency towards rhythmic speech and play, which is psychologically necessary for children. Children's folklore is performed by adults for children (mother folklore) and by the children themselves. Maternal folklore consists of works created by adults for young children (up to 5-6 years old). Its main genres - lullabies, nurseries, nursery rhymes, jumping rhymes, jokes, upside-down fables - encourage the child to sleep or stay awake (certain movements, games), the role of a calming or invigorating rhythm is important in them. Folklore performed by the children themselves reflects their own creative activity in words and organizes the play activities of the children's group. It includes works by adults passed on to children and works composed by children themselves. The poetry of outdoor games consists of lots, counting rhymes, game sentences and refrains. The poetry of verbal games includes chants, sentences, tongue twisters, silences, and voices. Children's verbal games include fairy tales and riddles performed in their environment. In the folklore of modern children, a new genre is widespread - horror stories. The behavior of a child in a children's group is regulated by children's satire: teases, ridicule, tricks, tricks, excuses. It is not always possible to draw the line between mother’s and children’s folklore, since from the age of 4-5 children begin to imitate adults, repeating game texts. Children's folklore was used by writers (children's poetry by K.I. Chukovsky, S.Ya. Marshak, S.V. Mikhalkov, etc.).

Perhaps not every parent understands the meaning of the phrase “children’s folklore,” but they use this very folklore every day. Even at a very young age, children love to listen to songs, fairy tales, or just play pats.

A six-month-old baby has no idea what a rhyme is, but when the mother sings a lullaby or reads a rhymed count, the baby freezes, listens, becomes interested and... remembers. Yes, yes, he remembers! Even a child under one year old begins to clap his hands under one rhyme, and bend his fingers under another, not quite understanding the meaning, but still distinguishing them.

Children's folklore in life

So, children's folklore is poetic creativity, the main task of which is not so much to entertain children as to educate them. It is intended to demonstrate to the smallest citizens of this world the sides of good and evil, love and injustice, respect and envy in a playful way. With the help of folk wisdom, a child learns to distinguish between good and bad, respect, appreciate and simply explore the world.

To create a bright future for the child, parents and teachers combine their efforts and work in the same direction. It is very important that both at home and in educational institution the educational process was properly organized and the help of children's folklore in this situation is simply necessary.

It has long been noted that training in game form has greater success than many, even the most original techniques. Folk art very close to children and, if chosen correctly for a particular age category, then very interesting. With its help you can introduce children to art, folk customs and national culture, but not only! The role of folklore in the everyday communication of children among themselves is great (remember teasers, counting rhymes, riddles...).

Existing genres and types of children's folklore

There are the following main types of children's folklore:

1. Mother's poetry. This type includes lullabies, jokes, and pesters.
2. Calendar. This type includes nicknames and sentences.
3. Game. This category includes such genres as counting rhymes, teasers, game choruses and sentences.
4. Didactic. It includes riddles, proverbs and sayings.

Maternal poetry is incredibly important to the mother-child bond. Mom not only sings lullabies to her baby before bed, but also uses pestles at any convenient moment: after he wakes up, playing with him, changing his diaper, bathing him. Cocktails and jokes usually carry certain knowledge, for example about nature, animals, birds. Here is one of them:

Cockerel, cockerel,
golden comb,
Oil head,
Silk beard,
Why do you get up early?
You sing loudly,
Don't you let Sasha sleep?

Have fun with your child! Sing the song "Cockerel" right now! Here's the background music:

Genres of calendar folklore usually refer to living beings or natural phenomena. They are used in a wide variety of games and are considered especially effective in teams. For example, an appeal to the rainbow, which is read in chorus:

You, rainbow-arc,
Don't let it rain
Come on honey,
Bell tower!

Playful children's folklore is used by absolutely all children, even if they themselves are not aware of it. Counting cards, teasers and play rhymes are used by children every day in any group: and in kindergarten, both at school and in the yard. For example, in every company you can hear children teasing “Andrey the Sparrow” or “Irka the Hole.” This genre of children's creativity contributes to the formation of intelligence, the development of speech, the organization of attention and the art of behavior in a team, which can be described as “not being a black sheep.”

Didactic folklore is of great importance in raising children and developing their speech. It is he who carries the greatest amount of knowledge that children will need in later life. For example, proverbs and sayings have been used for many years to convey experience and knowledge.

You just need to work with the children

It is very easy to introduce a child, even one who is just beginning to speak, to musical and poetic creativity; he will happily accept what you teach him and then tell other children.

Activity is simply important here: parents must engage with their children, must develop them. If a parent is lazy, time runs out; if a parent is not lazy, the child gets smarter. Every child will take something from folklore for themselves, because it is diverse in theme, content, and musical mood.