Driver's choice (different types of draws)

Today we are increasingly turning to the experience of our ancestors, to the origins of public education because it is there that we find answers to many of today's difficult questions.

Preferences in the process of searching for new means, factors and methods of organizing training and education are given to those that are multifunctional in nature, contribute to self-realization, self-expression of the individual, are interesting to children, organically fit into modern educational systems.

One of these means is the folk game. It is a unique phenomenon of human culture, since every century, every era, every specific ethnic group, every generation has its favorite games.

It has been noticed that children who did not play enough in childhood, in an unfavorable educational situation, suffer from a game deficit, which negatively affects the formation of many aspects of the child's personality. Conflict in relation to others as a result of deviations in the formation of children's self-awareness is manifested in the inadequacy of self-esteem, self-doubt, passivity, aggressiveness, isolation, inability to subordinate personal interests to collective ones.

Game ethics are acquired by children with desire, without morals and dictate from adults, which allows the child to painlessly form the skills of self-regulation and improvement of behavior with people around them.

High demands for honesty, justice and kindness are found in all folk games Oh. It has been established for centuries and no one disputes that for dishonesty, deception of comrades, any participant in the game can be told: "We don't play anymore" . And there is nothing you can do about it, except to realize the guilt and correct yourself. Not without reason, back in the last century, K. D. Ushinsky saw the task of future pedagogy in organizing and creating from folk games "an excellent and powerful educational tool" .

So, everyone has gathered, the game has been chosen. But before starting it, it is necessary to distribute the roles, so that there is no arbitrariness, so that no one becomes offended. And in this case, the function of distributing roles among the players, the decision of which everyone unquestioningly obeys, can be performed by such genres of folklore as drawing lots and counting rhymes, acting as a kind of game prelude. In addition to the game, draws can also be used in learning activities when it is necessary to divide the class into two groups.

Draws are for those games where there are two teams. There are several options for the draw. Two strong and dexterous guys become drivers (commanders) choosing their own team. The rest step aside in pairs and agree in a whisper which one of them will be: a golden cup or a silver saucer. Each couple comes up with a lotion to their taste, fantasizing or rhyming. Here are examples of lottery talks:

A black horse or a remote Cossack?

Roll the ball or pour water?

Chest of money or gold shore?

To be at home or to sail on the sea?

Archer from the sky or a young man from the earth?

Pair after pair approach the drivers and in a singsong voice ask which of them chooses whom. Depending on the answer, each of the pair becomes their leader (commander). So all the players are gradually divided into two teams.

"Gates" - variant of the draw, when two drivers (adults or trained children), they secretly agree in front of each couple who will be called what: night-day, pine-spruce, cornflower-chamomile, cold-heat, etc. The main thing is that the names should be beautiful and pleasant to the ear: no one wants to be called a burdock or a nettle. In turn, pairs of players come up and choose who will be who, then stand behind their driver. The very process of forming two teams will be exciting for children. "game before game" .

Modern children rarely use lottery, and it is a pity, because the ability to quickly construct the most witty or picturesque formula for drawing lots testifies to the level of the intellectual and aesthetic level of the child.

A more common way to distribute roles in a game is through counting rhymes. The origin of the counting rhyme is associated with special kind ancient allegorical speech - with a secret account. In ancient times, there was a ban on the direct counting of game or livestock, so our ancestors invented a form of indirect counting.

In addition to organizing the game, educators use counting rhymes when choosing a child who will perform or lead a certain job, when many want to complete an interesting and honorable task.

An apple rolled around the garden,
Whoever takes it is the governor.

For children who have difficulty in counting back, counting rhymes will help:

9,8,7, 6, 5 - one of us will go looking,

4,3, 2, 1-we want to play hide and seek!

Little in pedagogical process moments when rhymes will help everyone to be impartial, fair, respectful fair rules mutual communication.

The right to recount, according to children's unwritten laws, is not granted to everyone, but only to those in whom the rest are confident, who will honestly keep the score that determines the fate of the players. The counting, thus, contributes to the development of such qualities as honesty, inflexibility, nobility.

Thus, where there is a place for games with counting rhymes and draws, there always reigns good mood, and this is a guarantee successful work in the process of raising and educating children. Without these genres of folklore, a child will never become a master mother tongue, owning all its wealth emanating from folk art.

I. Draws

If the counselor, at his own discretion, will form the composition of temporary teams, then many children will feel this as an imposition of someone else's will. Working in such an appointed “from above” company can be perceived even negatively by some children.

To avoid this, it is best to use different options lots and counting. At events, it is useful to use the types of draws that children use during their games in the yard. Some others, designed by the counselor himself, can be added to them.

Label. For each player, they prepare the same stick, match, blade of grass. One of them is made shorter than the others. Then all on one side are clamped into a fist, aligning the outer ends. And they take turns drawing lots. Whoever pulls out the shorty, he drives. Matches and sticks can be replaced with pieces of paper (cards). Then they put a cross on one and, turning it, mix it in a hat (or pocket). The one who draws the mark leads.

Measure on a stick. This method is convenient when you have to choose a leader from a few candidates. For example, among the messengers from each team (or row) or among the captains.

A stick is taken (from a meter or more). One of the players grabs the lower end of the stick with his right hand. Right next to him, the second, third, etc. grabs the stick with his right hands. When all the participants in the draw have grabbed the stick, the first one transfers his right hand up, grabbing above the hands of the latter. Behind him, everyone else grabs their hands. And so on until someone's hand grabs the upper end of the stick. He gets the lot.

Sometimes the last participant is left with such a small tip of the stick that disputes arise as to who will get the lot - him or the previous one. In this case, there is a rule: the last player grabs the remaining tip of the stick with part of his hand and circles it around his head and shoulders. If he succeeds, then the lot remains with him. If not, then follow the previous one.

II. By counting

The implementation of many gaming training techniques is designed for the choice of either a leader, or a captain, or a judge (or judges). It is easier and faster for the counselor to assign them at his own discretion. But this often leads to the appearance of some disputes, dissatisfaction, refusals to work at the event. Helping children get rid of such reactions is the task of the counselor. And he can successfully fulfill this task, using the wisdom of folk pedagogy, contained in children's draws, fortune-tellers, and counting rhymes. ___ So, everyone becomes a tight circle. Someone alone (who volunteered) slowly pronounces a counting rhyme, pointing his finger in a circle, starting with himself, and then “along the sun” (an old rule of many folk games and rituals: if at any hour of the day you turn towards the sun, then the beginning of his path is east - will be somewhere on the left, and the end - west - on the right. Hence the counting, and many ritual movements, such as round dances, are conducted from left to right). ___ Those who have the last emphasis in the counting rhyme are considered to have left (exempted from the lot) or enrolled in one or another team (by agreement). They leave the circle and wait on the sidelines. ___ The last one usually leads (option: the one who first left the circle leads). ___ On the fists. All together with the counting put forward clenched fists. The one who counts on the first stressed syllable of the counting rhyme lightly strikes from above with his left fist on his right. On the second beat, it's the other way around. On the third - with his right fist on the neighbor's right fist, then on his left fist. In a circle, he touches each exposed fist.

The cuckoo walked past the net, And behind it were small children, Everyone shouted "cuckoo - poppy!" Push one fist.

On whose fist the counter ends, he opens it and lowers his hand. The calculation is repeated. So gradually the cams are lowered. Who lowers both - leaves (or leads). Examples of children's folklore rhymes:

Glass, lemon - Get out! Thread, needle, ti-ti - Fly away! A month came out of the fog, He took out a knife from his pocket: I will cut, I will beat - It's all the same for you to drive! On the way to the Caucasus An old tarantass rides. A cat is sitting in a tarantass, His tummy hurts! The gentleman rode in a tarantass. Crushed a cockroach - And for this adventure Three and a half paid! Ainy, maiden, Ricky, faki, Torba, yerba. He is Desmaky, Deus, Deus, Kasmateus, Bax!

Specialists in children's folklore among the counting rhymes especially highlight the "with a choice" rhymes. The most famous of them is the following:

On the Golden Porch sat the Tsar, the prince, the King, the prince, the Shoemaker, the tailor. Who will you be?

The one who had the last word does not immediately leave the circle, but names one of those listed. Suppose he uttered the word prince. Then the counting starts again, but with the one who chose. Now the end of the calculation will be the word king. Whoever it is for, he goes out. ___ Thus, in the "with a choice" counters, in order for one player to go out, you have to count twice. The first time completely, the second - to the word that was chosen. Such counting rhymes well train the ability to meaningfully perceive texts by ear.

A man was driving along the road, He broke a wheel on the threshold, How many nails he needs, Speak quickly, Do not detain Good and honest people! Dora, dora, tomato, We caught a thief in the garden. They began to think and wonder, How would a thief be punished? We tied our hands and feet And let them go along the road. The thief walked, walked, walked And found a basket. In this little basket There are lipstick and perfume, Ribbons, lace, shoes, Anything for the soul. One, two, three, four, five, six, seven, eight, nine, ten. The white moon floats out, And for month moon, The boy is the girl's servant. You, servant, give the carriage, And I will sit down and go. I will go to Leningrad to buy myself an outfit. Red, blue, blue, take your pick.

Reversible Special attention that you can use the variant of the draw, which encourages children to expand the amount of various and frequently used counting rhymes held in memory. ___ All children stand in a circle. One of them is the leader. To the rhythm of the counting rhyme he utters, he alternately runs his finger over the participants. On the last word counting finger freezes. ___ The child pointed to by the leader's finger takes over and becomes the leader. The former leader drops out of the circle, and the new leader begins a new, his own counting rhyme and finds out who she will stop at, that is, determines who to pass the baton on to get out of the circle himself. ___ The calculation goes on until there is only one person left - he will drive in the upcoming task. This option affects the development of many children much better than memorizing the on-duty "children's" rhymes for the next holiday event.

III. cut postcard

Four or five postcards are taken (the same or different; better - large format). Each of them is cut into six (four, five) parts. All parts are mixed.

Each of the children pulls out a fragment and looks for his team, uniting with those who got the fragments necessary to complete the whole picture.

Having collected a postcard, the company chooses a team place. If necessary, equips it (shifts or pushes tables and chairs; prepares the “tools” necessary for the task).

Before handing over the collected postcard, the team agrees on their name and the messenger displays it on the board. After all the companies have written their team names in chalk (option: depict emblems), the counselor can start talking about what the teams have to do (find, remember, compose, do).

It is more useful to give instructions on the upcoming work through interchangeable messengers, which each team sends to the leader.

Thanks to this form of association of those present in microgroups ( game teams), children perceive the association itself as absolutely independent. Therefore, the number of didactic hares caught by the teacher increases. And when repeating the task in different classes, the set of these caught hares will be different.

IV. In patches

All the children in pairs disperse around the room. Then each pair offers the host a choice: sun-rain, train-plane, cabbage-onion, etc. Moreover, these words must not only be said, but also played. The leader, guessing the word played, takes one of the pair to team number 1, the other to team number 2. And so on, until the whole group is divided, and the partners have the opportunity to remember each other well. At the lessons in primary school it is possible to agree on thinking only an animate or inanimate noun, or if one thinks of an animate noun, then the other must always think of an inanimate one. There can be a lot of options: adjectives, flowers, events, writers, etc.

This method of division makes it possible for everyone to play something without fear, since this game reincarnation is not needed in itself (which may seem scary to some children), but only as an auxiliary task for teaming up.

V. Rings

Condition: how many times the leader (who stands aside so that everyone can see him) clap his hands, so many people, holding hands and saying in unison: “We are ready!”, - the children form a “tight” ring. For example, after three claps, everyone breaks into rings in threes - who is faster!

After the first splitting into rings, the presenter is reminded required condition: in each new ring, the neighbor on the right and left must be different. This leads to more fuss. But it is she who is needed in order to properly mix the entire squad.

After a series of claps: either four, then eight, then two times three or two claps (at a fairly fast pace!) - the host claps so that the number of children in the rings would correspond to the group work planned for the event.

For example, having united the entire detachment into six rings, the counselor announces: “STOP! Each ring is a working group. Get yourself a general workplace(you can move desks and chairs) and take it (with notebooks and pens). Agree on a name and have a messenger from your team write it on the board."

It is a way of organizing work teams in a very short time and allows children to shake things up and (or) update their business attitude to the perception of consonances with their peers.

VI. Gates

You can play Gates anywhere, as long as there are at least twelve participants. First choose two guys stronger and taller, which will pose as a "gate". They step aside and secretly from everyone agree on who will be called what. We most often took the names of flowers or trees, for example, "cornflower" and "chamomile" or "pine" and "fir-tree". And sometimes they came up with something else - “day” or “night”, “apple” or “pear”, “sun” or “moon” (and for some reason they often took “moon” and “month” as if it were not same!). But the main thing is that the names should be beautiful and pleasant to the ear. I don’t advise you to call yourself “nettle”, “burdock” or some kind of “radish” - you will surely lose.

Then they must agree on which of them will be "heaven" and who will be "hell". While the reservation is going on, the rest of the guys become one after the other in single file and each puts his hands on the shoulders of the person standing in front of him. At the same time, try to stand approximately in height so that the little one does not have to put his hands on the shoulders of the big one. The youngest will be the first in the chain. He is called the "womb" because he will lead everyone else. And if all the guys are about the same height, then the girls are in front, and the boys are behind. Then you need to make a "gate". The two stand face to face at walking distance and hold hands. The uterus brings the chain to the gate, stops and says:

Please let us through the gate!

"Gate" chorus ask:

What will you give?

Mother offers:

Do you want the last one?

The Gates graciously agree:

Well, go...

And they raise their hands, opening the gate. Hands must be raised higher, of course, without disengaging them.

The uterus passes through the gate first and entails the whole string. The gate honestly let everyone pass, but when the last one passes, they lower their hands so that he is between their hands. The string goes forward, and the caught gate slowly asks: “To the maple or to the birch?” You must also answer quietly so that they will not be heard in the chain.

After the choice is made, the caught is released from the ring of hands, and he stands behind the "maple" or "birch". It is very nice when you guess and get to the one you wanted to! And the chain at this time, without stopping, makes a circle, and the uterus, seeing that the one caught is already in place, again leads everyone to the gate. The same words are spoken, and the last one of the string is diminished.

So the chain goes through the gate, each time becoming shorter and shorter. But on the other hand, on one side and on the other side of the gate, the guys are all added. Finally, the uterus alone approaches the gate and, after choosing, goes to the right or left ... Here is the “gate” and announce which of them was heaven and which was hell. Well, and, accordingly, which of the players got into the angels, and who into the devil! Since devils and angels cannot stand each other, a struggle must take place between them.

Of course, this option is somewhat cumbersome and one of the readers has probably already put an end to it, deciding that he will never agree to spend so much study time on such a task. But even in this case, pay attention to the special scrupulousness of the author's description and try not to confuse it with the duration of the game action. Experience shows that in detachments with the usual number of people, such a procedure takes no more than four and a half minutes. And in small detachments - almost instantly.

Four and a half minutes is a lot (although at first it seemed that if you start a “gate” at the event, then they will take no less than half the event), but if you consider that such a form can also be a warm-up-switch , and a kind of recharging the detachment with a single business pace, it becomes obvious that the time of the event, supposedly lost on the game, will pay off handsomely: a surge of children's efficiency and curiosity, multiplied by their gambling excitement. So somehow gather your courage and take a chance to try, suddenly, yes, you will have not only to the court, but also to your heart.

The concept of "children's folklore" and its scope. Collecting and studying children's folklore. Classification of children's folklore Lullabies, their themes, images, style. Pestushki and nursery rhymes. Jokes. "Dirty Tales". Changelings. Invocations and sentences, their connection with calendar poetry. Teasers. Scary stories. Word games. Silences and voices. Cuts. Tongue Twisters. Game folklore. Draws. Rhymes. The value of children's folklore.

Children's life intimately is connected with the life of adults, but the child has his own vision of the world, due to age-related mental characteristics. In children's folklore is the key to understanding the developmental psychology, children's artistic tastes, children's creative possibilities. The term "children's folklore" came into scientific use in the Soviet era.

Most scholars classify children's folklore not only as what exists in the children's environment, but also as nurturing poetry, that is, adult poetry intended for children, which significantly changes the specifics and scope of the concept of "children's folklore". What exists in the children's environment is not always actually children's creativity. The role of borrowings from the folklore of adults, literature and other forms of art is great. With a visible difference between children's folklore and the folklore of adults, there is no clear boundary between them, and many works can equally be attributed to both. Thus, children's folklore is a specific area of ​​folk art. It unites the world of children and the world of adults, contains a whole system of poetic and musical-poetic genres of folklore.

In many children's songs and games, the time and events that have long been lost by the memory of the people are reproduced. Children's folklore helps historians, ethnographers to better understand the life, way of life, culture of our ancestors. Many children's amusements are "joking imitation of the serious business of adults", a means of preparing children for life. They reflect production and economic activity, national psychological traits and social life people.

History of collecting and studying children's folklore. AT early XIX century A. Glagolev, who wrote about the beauty of rites, draws on a children's song associated with the rite of worship of the sun and the cult of trees. I.P. Sakharov already in 1837 in "Tales of the Russian people" publishes nursery rhymes, a lullaby, gives a description of several children's games.

In 1837, in the Notes and Notes on Siberia, E.A. Avdeeva gave live sketches of children's life, texts of game sentences and ritual races. In 1844, a small collection of children's folk tales was published, which in special group were singled out for the first time. A. Tereshchenko in the book "Life of the Russian people" (St. Petersburg, 1848) introduced a significant layer of children's creativity into science.

In the 60s, pedagogical journals were published (Education, Russian Pedagogical Bulletin, Yasnaya Polyana, Pedagogical Collection, Teacher, Journal of the Ministry of Public Education). Works of children's creativity are published in many popular magazines, in collections and studies by G.N. Potanin, M.F. Krivoshapkina, A.N. Afanasiev and others.

IN AND. Dahl in his collection "Proverbs of the Russian people" gave a significant place to tongue twisters, riddles, game sentences, cuts, counting rhymes. He tried to introduce into scientific circulation the terminology taken from the lips of the people (“horsemanship”, “lot”, “patter”, “jokes”, etc.).

A major step in the development of "folkloristics of childhood" was the collection of P.A. Bessonov "Children's Songs" (1868). This is the first collection of children's poetry. It presents almost all genres of children's folklore, from lullabies and pestle to big songs and games from the repertoire of teenagers.

P.V. Shane in the collection "Russian folk songs singled out children's songs in a special section. It includes 122 works. In the appendix were given options for songs and descriptions of children's games. At the end of the century, Shane published two hundred and eighty-five texts in the section of children's songs in Velikorus. P.V. Shane singles out the songs "lullabies and amusements", "song jokes and sentences", "drawing song jokes before the start of the game (konanya)", "children's games (with song sentences)". Children's folklore has already emerged as an autonomous area of ​​folk poetry.

In the 1970s and 1980s, much attention was paid to children's folklore. According to the scientific level, the works of V.F. Kudryavtsev, K. Ryabinsky and P.S. Efimenko, A.F. Mozharovsky. The most significant contribution to the science of this period was the works of E.A. Pokrovsky devoted to children's games: "Physical education of children among different peoples of Russia" (1884); "Children's games are predominantly Russian" (1887); "Children's outdoor games" (1892). E.A. Pokrovsky considered children's games as an indispensable school of physical, mental and moral education.

V.A. Popov believed that counting rhymes retained traces of the mythological thinking of our ancestors, their beliefs and superstitions. N. I. Kostomarov saw in folklore images a reflection of the national way of life, the system of folk thinking. I.P. Khrushchev saw in children's songs a reflection of ancient pagan rites and modern peasant life. A.F. Mozharovsky considered children's folk art in connection with children's life, with the whole way of peasant life. E. V. Barsov advised to more fully reflect the influence of God and the church on the upbringing of the child. On the theoretical level, A. Vetukhov's study "Folk Lullabies" (M., 1892) stands out among all the works. The scientist singled out the main motifs of lullabies, their images, established their direct dependence on everyday life, living conditions, national mental makeup. Only children's games and lullabies could be considered more or less studied.

During the Soviet period, dozens of folklorists, ethnographers, teachers, writers systematically collected and studied children's creativity. Let us especially note the works of K.I. Chukovsky, O.I. Kapitsa, G.S. Vinogradova, M.N. Melnikov.

K.I. Chukovsky collected the richest material for the study of children's word creation and poetic creativity of children. His researches and observations, publications later combined in the book "From Two to Five", contain material of great scientific value. He developed the theory of the genre of shifters, showed when, how and under what conditions, children master folk poetic riches.

O.I. Kapitsa did a great job in organizing the collection, publication of children's folklore and its popularization. Personally and with the help of students, she collected more than eight thousand texts, organized a commission on children's folklore, published a number of popular collections, articles, bibliographic reviews of literature on Russian and foreign children's folklore, a collection of articles "Children's Life and Folklore" (1930). Her long-term search was completed by the book "Children's Folklore" (1928), which for more than fifty years was the only generalizing work on children's folklore in Russian folklore.

The largest researcher of children's folklore was G.S. Vinogradov. Starting from 1922, his works “On the study of children's folk games among the Buryats”, “Children's folk calendar”, “Children's satirical lyrics”, “Children's folklore and life”, “Folk pedagogy”, “Children's folklore in school course literature", "Russian children's folklore: Game preludes", "Cuts".

At the end of the 50s, the work of V.P. Anikin “Russian folk proverbs, sayings, riddles and children's folklore. Written at a high theoretical level, it predetermined three productive directions in the study of children's folklore: historical-genetic, philological, and functional-pedagogical.

In the 60s - 70s. publications, articles, dissertations, monographs, collections, chapters appear in teaching aids on oral folk art and children's literature. The works of the talented Siberian folklorist M.N. Melnikov appeared. One of his best works was his book Russian Children's Folklore of Siberia (Novosibirsk, 1970). In 1987, his book "Russian Children's Folklore" was published, which was a generalizing theoretical work on children's folklore. In addition to theoretical articles, it contains the richest textual material.

Classification of children's folklore. So far, there is no generally accepted classification of genres of children's folklore. Almost every researcher puts forward his own classification scheme. O.I. Kapitsa proposes the division of children's folklore according to the age gradation of children. She attributed maternal poetry to children's folklore. Fairy tales created by children, in her opinion, cannot be the subject of study of folklore and ethnography at all.

G.S. Vinogradov singled out five main sections of children's folk poetry: play folklore, amusing folklore, satirical lyrics, everyday folklore and calendar. This classification is based on domestic use.

V.A. Vasilenko singles out the following sections: 1) lullabies; 2) works related to game actions; 3) works that engage children with verbal content and are performed regardless of game actions.

The classification proposed by M.N. Melnikov, based on the discoveries of G.S. Vinogradov, but takes into account the principle of age gradation of children and some other provisions of the work of O. I. Kapitsa. He proposes the following classification of children's folklore.

Poetry of nurturing. It includes genres of poetry that are specific to each period of a child's life. This includes lullabies, pestles, nursery rhymes, jokes, boring tales.

household folklore. This includes children's folk songs, incantations and sentences, children's ritual poetry, nicknames and teasers, children's fairy tales, horror stories.

Amusing folklore includes word games, silent and golosyanki, poddevki, cuts, tongue twisters, fables, shifters, riddles.

Game folklore is divided into: a) formal role-playing games without a poetically organized text, b) formal role-playing games with playful choruses, c) formal role-playing games with playful sentences, d) improvisational games, e) colloquial collusion and counting rhymes.

POETRY OF NURSING has genres of poetry that are specific to each period of a child's life. In the works of maternal poetry, various methods of education are fixed. They not only teach, improve the mind, educate morally, but also deliver incomparable aesthetic pleasure to children. The poetry of nurturing is very diverse both in terms of poetics, and in the nature of performance, and in its everyday purpose.

Lullabies that lull a child to sleep got their name comes from the word sway (sway, sway, swing, sway). In some areas they were called "baizes" - from the verb "baykat" (lull, swing, lull). The genre features of these songs are determined by their function - the desire to lull, lull children to sleep. Hence their rhythmic correspondence to the movements of a woman rocking a child in her arms or in the cradle. They hear the creak of unsteadiness:

And swing, swing, swing,

The rooks came to us.

The gate is a creak, a creak,

And Vanechka sleeps, sleeps.

Scientists talk about the relationship between a lullaby and a conspiracy in connecting a word with an action (swing). In conspiracies against childhood insomnia, we will find the same motives and images (“Sleep and Dream, roll away from me”) as in the lullaby (“Sleep walks on the bench, Sandy on another. Sleep in a white shirt, and Sandy in blue").

Even in ancient times, people well understood that in the first years of life, the child's body is mainly occupied with its own creation. In the first months of a child's life, calm long sleep- indispensable condition rapid growth and development. People noticed that on the way, with rhythmic movement, swaying, the child quickly falls asleep. The monotonous lullaby with its simple rhythm soothed the child, lulled him to sleep, which is very important for physical development.

An analysis of the most ancient lullabies shows that the circle of poetized persons, objects, and phenomena is extremely narrow. This is the baby, mother, father, grandmother, grandfather of the child. These are domestic animals - a cat, a dog, ghouls (pigeons), rooks. These are the mythological images mentioned above: the mother calls the good Sleep and Dream, the strict Ugomon, the terrible Buku. This is a golden cradle, a cradle “turned, gilded”, a golden hook, a blanket. The idea of ​​the happiness of the family and the child was associated with bread, with food, with the dream of satiety. Caring for the nutrition of the child during the lullaby period was one of the main concerns of the mother. Therefore, the motif of food (“porridge in a cup, a piece of cake and a jug of milk”, etc.), feeding, food became almost a through motif of all lullaby poetry.

Constantly lacking sleep, the peasant woman spun and wove to dress her family. The whole winter passed in this exhausting, monotonous labor. In lullaby songs, a canvas bed is rarely mentioned. More often over the cradle of the child, the dreams of the mother are expressed

Bikes, bikes,

Mothers are Chinese

Father - kumach,

Brother - marigold ...

Fantasy painted rich life in vivid images: “You will walk in gold, Wear pure silver ...”

For more than a hundred years, scientists have been debating the motive of wishing the death of a child in some lullabies. In the 70s of the 19th century, reactionary journalism used this motif to prove the absence of a moral principle among the Russian peasantry. Other point of view: N.M. Eliash saw in the motive of wishing the death of a child "echoes of ancient ideas, ancient beliefs about the redemptive power of child suffering and death." V.P. Anikin claims that in this way mothers fought for the life and health of their children, tried to deceive evil forces. (“Bai da lyuli, at least die today”, “Bai, bye, bye, even die today”, “Sleep, Tonya, for two days, and on the third - for firewood”)

In lullabies one can find echoes of historical eras, in particular, the Mongol-Tatar invasion. Apparently, in Russia there was a custom to frighten children with the name of a strong enemy and at the same time promise protection to the child. The following lullaby has survived:

Bye-bye, bye-bye

Khan Mamai came to us.

Mamai came to us

He asks - give Vanya back.

And we will not give Vanya,

Suitable for us.

Artistic style of a lullaby. The poetics of a lullaby is directly dependent on its function, in close connection with the content, with folk psychology, with folk life. Taking into account the psychological characteristics of a child of lullaby age, the concrete-figurative, sensual perception of the world, the lullaby paints this world not in colorful immobility, but as a world of rapidly moving creatures and objects:

I shake, I shake

Father went for fish

Mother went to carry bags.

Boushka ear to cook,

Boushka ear to cook,

And grandfather beckon pigs.

Here each verse is a new dynamic picture. The child is not yet able to keep this or that image, this or that word in memory for a long time, to stop his attention on one thing for a long time. Lyrics are, as it were, woven from nouns and verbs. And this is despite the amazing wealth of expressive and visual means of Russian folklore. Not only metaphor, metonymy, but also epithet are rare. The exception is personification.

Pestushki (from the word "nurse" - to nurse, raise) - these are short sentences. They amused the child, instilling in him the first life skills, forcing him to sit down, stretch, walk. Perhaps they once had magical meaning. They infect the baby with cheerfulness and fun. According to the rules of folk pedagogy, in order to bring up a physically healthy, cheerful and inquisitive person, it is necessary to maintain joyful emotions in a child during his waking hours.

Having swaddled the child, the mother or nanny with both hands, slightly squeezing the child's body, passes several times from the neck to the feet. This kind of massage helps to restore blood circulation, excite the vital activity of the whole organism, which is very important during the period of initial growth.

Stretches, stretchers,

Across the plump

And in the legs of a walker,

And in the hands of a grabber,

And in the mouth of talkers,

And in the head of the mind.

As the child grows, the exercises become more difficult. To exercise the muscles of the hands and consolidate motor skills, the method of slowly spreading the child's hands is used, as if imitation of swimming. This is reinforced in the more complex text of the pestle:

Tyatenka - a sazhen,

Mom - a sazhen,

Grandfather - a sazhen,

Grandmother - a sazhen,

Brother - sazhen,

Sister - fathom,

And Kolyushka -

Big, big.

Nursery rhymes serve to entertain the child, with their help, adults draw the child into the game. At the same time, they not only entertain the child, but also convey to him moral and labor concepts. They contribute to both the physical and moral development of the child. Taking care of strengthening the muscles of the torso, the development of courage in a child, he is often “tushed”, that is, by planting him on the palm of one hand and supporting his chest with the other hand, they throw him up, holding him with one hand, and then pick him up with the other.

Chuk, chuk, chuk, chuk,

Grandfather caught a pike

Grandma baked a fish

The pan is gone.

The most common and well-known are such nursery rhymes as “There is a horned goat”, “Magpie-crow cooked porridge”, “Ladushki”, “White hare, where he ran”, “On a flat path”, etc.

Jokes are songs of a plot nature with which adults amuse children. All jokes have one common goal - to amuse listeners. And at the same time, they are called upon to turn the small, closed world of the child into an “open” and infinitely diverse world which is vital to him. Jokes, jokes, genetically go back to the comic songs of buffoons and inherited a system of images from them. These include songs about animals, insects doing human things, for example:

Cat in a basket

sews shirts,

And the cat on the stove

Crackers push.

Our cat has

Three sweet cakes

And our cat

Three cellars of milk.

In jokes, ducks play pipes, a cat sews a fly, a cockroach chops wood, a raven plays a trumpet, etc. Quite often, jokes are built like fables. In them, a man mows hay with an awl, a pig builds a nest on an oak tree, a piglet laid an egg, a bear flies in the clouds, etc.

The joke is characterized by high artistic merit: vivid imagery, rhymes, richness of alliterations, sound writing, etc. In the joke, the motif is repeated many times, giving new information which contributes to its fixation in the memory of the child.

This can be shown by the example of the joke "A goat went for bast, A goat went for nuts." In the very first two verses, the child is given an idea of ​​the intra-family division of labor. Further, the child learns that the forest is full of gifts (nuts), full of dangers (the goat is afraid of the wolf). That the wolf himself is afraid of the archer (armed man); and the archer is a bear. That “dubye” is cut with an ax, an ax is blunted by a stone, a stone is destroyed by fire, fire is afraid of water, etc. All this is knowledge with which a child will be able to correctly navigate the world.

And the child receives this knowledge through a poetically organized dialogue based on the game of sound and word:

Water does not pour fire,

Fire does not go to burn a stone,

The stone does not go to blunt the ax,

The ax does not go to chop the double,

Dubye does not go to beat the bear,

The bear does not go to tear the archer,

Sagittarius does not go to shoot the wolf,

The wolf does not go to drive the goat -

No goat with nuts

No goats with red-hot.

Such an artistic structure allows you to give a vast amount of knowledge, ensure their lasting memorization, lead the child to an understanding of cause-and-effect relationships, the fact that all objects and phenomena of nature are interconnected and interdependent.

The genre of jokes is far from homogeneous. It includes short songs (without a comic element), appeals to children like:

Our daughter at home

What pancakes in honey

What pancakes in honey

Sweet apple in the garden.

There are jokes-parables, which are a moral lesson accessible to children, clothed in an entertaining form; The following joke-parable is well-known:

- Titus! Go grind.

- My belly hurts.

- Go and eat porridge.

"Where's my big spoon?"

The boast of the child is answered with a joke-parable:

Van, where are you?

- Yes, here.

- What are you doing?

- Caught the bear.

- Bring him here.

- He's not coming.

- So go yourself.

- But he does not let go!

The term "boring tales" was introduced into scientific use by V. I. Dal. He first published these works in 1862. Under this term, it is customary to combine jokes of a fabulous nature, with which storytellers entertain children or try to discourage their excessive interest in fairy tales. A "boring" fairy tale is offered instead of the usual one. Siberian folklorist M.V. Krasnozhenova wrote: “When telling, they observe pauses and the tone of a fairy tale story and suddenly end almost at the first phrase, and the guys got ready to listen. Raising a cry." She called these works "fairy tales-mocking."

There are still boring fairy tales “The priest had a dog”, “Once upon a time there were two geese”, “About a white bull”, “Once upon a time there was a grandfather and a woman”, “A bear came to the ford”. The narrative part of most texts is borrowed from fairy tales ("Once Upon a Time"). Fairy-tale narration is always broken by mockery. This sometimes consists in the fact that immediately after the beginning it is announced that the fairy tale is over: "Once upon a time there were two geese. ... That's the whole fairy tale!"

Sometimes the last words of the text do not end the boring tale, but serve as a bridge to the repetition of the same text. M.N. Melnikov rightly noted that boring tales contribute to the development of endurance, moderation in desires, and a sense of humor. Growing up, children themselves use boring fairy tales to have fun, to make fun of the younger ones.

TO CHILDREN'S HOUSEHOLD FOLKLORE M.N. Melnikov classifies genres that reflect various aspects of children's life. These are children's fairy tales, songs, horror stories, incantations, ritual songs, teasers.

As for children folk songs, these are mainly songs that have passed to children from adults. So, in the 19th and early 20th centuries, the song “Goat, goat, bast eyes” was widely circulated among children, which, according to M.N. Melnikov, was associated with the game of girls, a variant of the game of tricks, but with a developed verbal prelude. Other songs - “The goat went for the bast”, “I served with the pan”, “Grandfather planted a radish”, “I will put jelly”, etc. also clearly moved from the adult repertoire. Everything that reflected the old peasant life is now forgotten. Now in the children's repertoire there are several songs left, for example, about a goat or a magpie that grazed horses, about a hare that fought bast, scared wolves.

A large place in the children's repertoire is occupied by invocations and sentences. Calls - poetic appeals of children to the elements of nature. Once they had a magical meaning, and passed to children from adults. These are appeals to the sun (“Sun, sun”, “Sun, bucket”), rain (“Rain, rain, forest”, “Rain, rain, stop”), rainbow (“Rainbow-arc”). Sentences - appeals to animals and insects. The sentences “Butterfly-cut”, “Ladybug”, “Snail, snail” are widely known. In children's everyday life there are still sentences to the mouse: “Mouse, mouse, my tooth is on you” - when they throw a fallen milk tooth into a slot; “Mouse, mouse, pour out the water” - when they jump after swimming on one leg, trying to pour out the water that has accumulated in the ear. Now the sentences to the calf (“Telesh, telesh, where are you wandering?”), to birds (“Kite, kite, wheel”) have already been forgotten.

Nicknames and teasers go back to an ancient Russian tradition. The tradition of giving nicknames passed to children from adults. In everyday life in Russia, there were once not surnames, but nicknames given to people by their fellow villagers. A lot of nicknames are epithets created on the basis of consonances: Andrey the sparrow, Natashka the bug, Arkashka the cockroach, Sonya the sleepy, Petka the rooster, Masha the confused.

The teaser, in fact, is a detailed rhyming nickname: "Sneaky trouble, cockroach food." Sometimes teasers turn into whole songs:

petka-rooster

It's rotten on the heap.

Dropped an egg

I took it to the market.

They don't take it at the market

Petka is pulled by the ears.

Scary stories - horror stories- children's oral conditionally realistic or fantastic stories that have a setting for authenticity. Researchers of this genre of folklore O.N. Grechin and M.V. Osorina argue that " scary stories» have existed in the children's environment for a long time. Direct or indirect confirmation of this can be found in the story of I.S. Turgenev "Bezhin Meadow", in the writings of A.S. Makarenko, A.L. Panteleev, L. Kassil.

This genre is based on fairy tales and bylichki. Some images (a witch, a sorceress), motifs of a magical transformation (a black spot turns into a terrible witch), an orientation towards authenticity came from the bylichki to the horror story. Traditional beginnings are borrowed from the fairy tale (“Once upon a time there was one family”, “A girl lived in one house”). There are traditional motives for violating the ban (not leaving the house, not buying black curtains, etc.). The method of trinity of episodes is used. At the heart of the conflict, as in a fairy tale, is the struggle between good and evil. Good is personified by a boy, a girl, and the police. Evil can be represented as a stepmother, a witch, an old man. Or inanimate objects: black spot, curtains, a coffin on wheels, behind which an animated creature always hides (after the transformation).

The artistic time of the horror story is recently past. Events in the horror story fit into the limit a short time(three nights; once). Artistic space: room, apartment, house, underground passage, cemetery. The attributes in the horror story are modern: radio, telephone, piano, mechanical doll, piano, etc.

According to O.N. Grechina and M.V. Osorina, horror stories exist among children from 6 to 14 years old. The works are performed in a collective environment (in pioneer camps). Meeting with the unusual, mysterious, terrible, joint collective overcoming of fear teach children the ability to overcome fear, maintain clarity of mind, self-control, and the ability to act.

M.N. Melnikov singles out FUNNY FOLKLORE into a special group. This includes word games, silences, poddevki, cuts, fables, shifters, riddles, tongue twisters. The purpose of these works is to entertain, cheer, amuse yourself and your comrades.

Word games were known in Ancient Russia. Some of them retained archaic features. E.A. Avdeeva in 1837 described the game "Smoking room", which has long attracted the attention of scientists. The game consisted in the fact that the children sat in a circle, lit it, then extinguished it so that it only smoldered, and passed it from hand to hand, saying: “There was a Smoking Room, the legs were thin, the soul was short. Don't die, Smoking room, don't leave sadness, don't make me dance. Everyone tried to get rid of the Smoking Room as soon as possible, saying: he is alive. The one whose splinter went out had to give a phantom.

The famous English ethnographer E. Tylor drew attention to the fact that this game is known in almost all European countries and in different countries common features. In his book "Primitive Culture" he proved that this is very ancient game, which goes back to the drawing of lots before the sacrifice. Whoever the fire goes out, that one had to be sacrificed.

Another game once popular in Russia, associated with a torch, - “Burn, burn brightly, Zakharka has arrived ...”, in our opinion, goes back to the ancient Kupala marriage games of youth. Children adopted from adults and altered the games in their own way, putting a completely different meaning into them.

From speech games, one can also name the game “Lady”, in which the players had to follow the rules containing prohibitions: “Do not take black and white, do not say yes and no.” In addition, it was impossible to smile and laugh. The game brought up the will, taught to quickly formulate their thoughts and be able to create speech traps. Older people remember attention games: "The Gardener" ("Flowers"), "Paints and the Monk", "Broken Phone".

Once upon a time, “silence” and “golosyanka” were widespread. When playing "silent" after the verdict, it was impossible to laugh or utter a word. Silent women necessarily contain an agreement to remain silent in the form of a spell (“From now on, be silent”, “Who will say a word”, “Chok, chok, chok, teeth on the hook”). The formula of the sentence to the loser: "Whoever says, he will eat", "Whoever says a word, that's a click." Comic texts were very popular with children, for example: “The cat is dead, the tail has peeled off, whoever says it will eat it.”

"Golosyanka" was the opposite of "silence". The children competed to see who would hold out the last sound longer and louder. At first, everyone sang: "Let's sit in the clearing, tighten the golosyanka, and whoever doesn't make it, the same-oh-oh-oh ...". This game was called in a different way "hairy", because. the first one to stop was pulled by the hair, and he yelled at the top of his lungs. Probably, this game contributed to the development of voice data and the regulation of breathing.

Szechki is a word game accompanied by certain actions. The text of sections always contains an encrypted score. The most common number is 15. There are cuts for 22, 16, 23, 26, 41. Boys usually played this game in early spring. They were persuaded to apply a certain number of notches without counting. The player picked up some kind of cutting tool (for example, a knife) and began to quickly strike the tree, pronouncing the text of the cut at the same pace. For example:

Sek, sek twenty,

I'll carve fifteen -

All in full

To a single spot!

G.S. Vinogradov, the only researcher of cuts, believed that they once existed among adults, then moved on to adults. He refers to the fact that in the Urals and Altai, lumberjacks and carpenters used to play similar games. Now cuts are almost forgotten, gone from children's use.

Tongue twisters, or frequent tongue twisters, were first published by V.I. Dalem in "Proverbs of the Russian people". Apparently, in the old days they belonged exclusively to the repertoire of adults, but later they passed to children. In the children's environment, tongue twisters are used for entertainment. This genre develops a sense of language, helps to eliminate tongue-tied tongue, and develops clear articulation in children and adults. In particular, tongue twisters are still used in kindergartens by speech therapists, as well as in theater schools in speech lessons.

The difficulty in pronouncing tongue twisters is created by the selection of words with the same sounds, most often explosive consonants, for example: “There is grass in the yard, firewood on the grass.” Until now, many tongue twisters are popular with children: “Dust flies across the field from the clatter of hooves”, “Sasha walked along the highway”, “A Greek rode across the river”.

GAME FOLKLORE

For thousands of years, games have been an important means of physical, military and mental training of children, a means of moral and aesthetic education. Children's games are one of the greatest achievements of the folk pedagogical genius. According to the correct conclusion of V.P. Anikin, they “combine important beginnings practical pedagogy, art and a harmonious system of physical education. In the process of games, children acquired valuable qualities for life. The people understood the pedagogical value of children's games and took care of their safety in every possible way.

It is no exaggeration to say that play occupies an exceptional position in a child's life. It underlies children's leisure, labor and sports. The game develops the spirit and body of the child, acquires knowledge, experience of the life of people of past generations and lays the foundation for his future activities. Playing, children imitate adults, learn life. This can be seen in the impromptu games of modern children. Playing with dolls, the girls "go to visit", reproducing the manners of communication of adults. They play "to the store", "to school". The boys play "war", "drive" and "repair" cars, build snow "fortresses" and "houses".

Scientists have long noticed that in many children's games, traces of ancient beliefs, rituals, and labor processes have been preserved. E. Tylor in the book "Primitive Culture" argued that in children's folk games "the ancient stages of the history of the children's generations of mankind are reproduced." This will become obvious if we turn to children's games. The widely known and still popular game "blind man's blind man" reflects folk beliefs in the possibility of reviving the dead man ("blind man's blind man"), a meeting with which one must be able to avoid.

Until now, children play, mainly in kindergartens, the game "At the bear in the forest." This game clearly reveals traces of reverence for the totem beast, which in ancient times they went to “wake up” so that it would not oversleep the spring, put things in order in the forest. There are games that reflect labor processes: “Sow Flax”, “Poppy”, “Wolf and Sheep”, “Kite”, “Geese-geese”, etc.

One of the most popular and still preserved children's games is the game "Hide and Seek". There is no doubt that it arose during the period of endless raids of nomads (Khazars, Pechenegs, Polovtsy, Tatars) on Russia. Then the ability to find shelter inaccessible to the enemy on the first distress signal was tantamount to the right to life. An analysis of various variants of the game of hide-and-seek, believes M.N. Melnikov, leads to the idea that this skill was specially taught to children. Let's consider the Siberian version - the game "Lair".

All players were divided into two parties. One party was looking, the other was hiding. Those who were hiding tried to find such a “lair”, to disguise themselves in such a way that no one would notice their close presence. In addition, the "lair" should not have hampered the actions of the hiding person and given him the opportunity, at the first threat to be caught, by a "bullet to fly out" from the "lair" and catch those who were looking for him. Such a game, Melnikov rightly believes, helped children develop an eye, the ability to disguise themselves, accurately measure their own strengths and capabilities, and run fast. She taught to wait in ambush for a long time, regardless of weather conditions. In addition, this game required discipline and unity of action of all participants.

Many games required splitting the players into two parties. The division was carried out by drawing lots. Draws are rhyming formulas that serve to distribute the team of players into two parties. The parties in the game are led by two "wombs", the leaders of their parties. In the dominance of the "wombs" one can see traces of matriarchy. All players shared in pairs. They agreed which of them would be conventionally called whom (“I will be a golden saucer, and you will be a bulk apple”). Then they came up and asked: “Uterus, uterus, whose interrogation?” One of the queens (alternately) responded: "My interrogation." One of the players: "Golden saucer or pouring apple?" Mothers were chosen. Then the next couple came up, and so on. until the complete separation of the players.

There is an abundance of actions in the draws: “To be at home or to sail on the sea?” “Plow the field or wave your hands?” “Stove to heat or feed a horse?”. But at the same time, sometimes the verbs are completely omitted: “A black horse or a golden saddle?” “With a swing under the shirt or with a run under the cart?” In ordinary language, this question would sound like this: “Do you take that daring man who can at one moment be under the cart, or the one who will instantly be under the shirt?” Here the speed of action is conveyed with the utmost parsimony of linguistic means and amazing liveliness.

Of all the variety of genres and forms of children's oral folk art, rhymes have the most enviable fate. From early childhood (3-5 years) and before entering adolescence, the counting rhyme is the favorite work of the child. It is customary to call counting rhymes short rhymed verses used by children to distribute roles in the game. In contrast to the draw, the rhyme usually has not two, but four or more verses of comic content. The draw has the form of a question, and the rhyme is pronounced in the form of a recount. The rhyme ensured the equality of the participants in the game. Whom she points to, he will “drive”, “gale”. Therefore, the rhyme was built in such a way that the last line contained an indication of who to drive. The leading recount chants, highlighting each syllable:

Tady-rady, tynka,

Where is our pig?

Tady-happy, talk,

The wolves ate the pig....

Tady-happy, Tishka,

Come out, coward.

Whoever the word “coward” fell on, he leaves, and the last one left is considered the leader.

However, a direct indication at the end of the rhyme is not necessary. A rhyme can be a comic poem, which is pronounced scantily, and the leader becomes the one on whom the last syllable falls:

Eniki-beniks, they ate dumplings.

Eniki-beniki, damn it!

Scientists attribute the origin of counting rhymes to pagan times and associate them with a conditional secret speech, on the basis of which the riddle was created. The fear of betraying one's intentions to animals, birds, fish, and even mushrooms led to the taboo of counting. Recall the prohibition of mushroom pickers when picking up to ask how many mushrooms he has already found. Housewives avoided counting chicken eggs so that the hens would not stop laying. Hunters believed that counting the game killed during the hunt would lead to failure. This led to the fact that people came up with allegorical forms of counting.

This explains the piling up in many children's counting rhymes of artificial words that replace numbers: "azi, dvazi, trizi." The preponderance of the rhythm of a word over its meaning, the abundance of "abstruse" words testify to the ancient origins of children's folklore. And their preservation in children's folklore is explained by a heightened sense of rhythm characteristic of children, children's love for word play, rhyme, and sound repetitions. Many counting rhymes are built on this: “Torbu, orbu, crayfish, crayfish, shmaki”, “Shara-mara went to the forest”, “Tyora, yora, shuda, luda, heel, sat, beer, willow”, “Abul, fabul, dumene”, “Riki, tiki, grammar”, etc.

In terms of the strength of the aesthetic impact on the children, in terms of their prevalence, in terms of the number of works, counting rhymes are unmatched. The rhyme did not know class barriers. Almost every child knows more or less texts. Competition in the knowledge of counting rhymes makes children learn more poems, and thereby develop memory. The right to recount, according to children's unwritten laws, is not granted to everyone, but only to those in whom the rest are sure that he will honestly keep the score that determines the fate of the players. Violating this rule loses the trust of comrades. The performance of counting rhymes develops a sense of rhythm, which is necessary in a song, in a dance, in work. The sound organization of counting rhymes captivates with its beauty, makes an unforgettable impression.

The draw is included as constituent element in almost every game but she herself is a game. Fascinating, gambling and... kind!

The drawing of lots was born as a certain ritual based on the practical activity of a person in whose life there were often situations of choice, situations of testing fate. His very life depended on it. For example, ancient pagan people cast lots - and someone went to the fire, as a sacrifice to the god-idol. Throwing medieval knights- and one of them forever became a slave beautiful lady. Who should go to overtime reconnaissance? Who, after a long exhausting transition of troops, should stand on guard? Who should climb into the water without knowing the ford? Who will be the first to descend into a crevice in the earth or to the bottom of a deep and long-abandoned mine? How many such and similar questions were decided by lot!

It is not surprising that all the players, even children, take the drawing of lots seriously.

stick interception. To determine the driver (or the driver), those who wish play they take a long stick in their hand (the size is arbitrary), one of them intercepts it from below to the full width of the palm, the other grabs the stick nearby, the third joins them and grabs the stick higher, the fourth even higher - and so on until the very end. Whoever makes the roof, that is, whose hand is on the upper cut of the stick, is the one to burn. If a players a little and at one time they all together cannot reach the top of the stick, they are forced to use their second hand.

Ejection of fingers. All gathered play on team throw one hand forward, leaving a few fingers clamped, and a few straightened (from one to five). Everyone has a different number of open fingers, of course. Their total amount is calculated, and a score is made for each player(from whom to count - agree in advance). On whom the account ends, that and naked.

The shortest match. They choose one who, imperceptibly for everyone, breaks off the ends of the matches (or sticks) to different lengths, then collects them in one row and clamps them with his hand so that only the upper ends of the matches are visible, aligned along one line. The number of matches is taken according to the number of players. Whoever pulls out the shortest match is the one to burn.

Hat. According to the number of players, they take pieces of paper of the same color and shape. On one of them they make the inscription: "Driver". The leaves are folded into a tube and put in a hat. There they are mixed without looking. Then they let everyone pull out a tube player; Whoever comes across a piece of paper with an inscription, and that's the one to drive. When to choose games several characters, for example, a wolf and a hare, a grandmother and a krynochka, then they write all these names on different pieces of paper - and who gets what.

Throwing bast shoes. When playing with the ball, they finish, that is, they set the order of hitting the ball and thus go sequentially to one position. Everyone throws his stick (bat) as far as possible and in one direction. Whoever's stick flies the farthest hits first, whoever has the closest - last.

bat throwing. The principle of the draw is the same as in ball games, only sticks (bats) are thrown not with the hand, but with the foot. To do this, put the bat with one end on the toe of the boot, the other is supported by the hand. Then they take the leg with the bat back and sharply push forward. Whoever's bit flies the farthest, he starts game(in towns, in ruhi, etc.).

winnowing grain. This the game was held before the autumn gatherings-cabbages. The girls cast lots: which of them should start cabbage evenings, who should continue, who should finish. To do this, they went to the current, where heaps with unwinded grain lay. They cleared the platform, over which they had to winnow their grain in turn - each with a sieve. They stood in turn in the same place and tapped on the sieve, let the chaff fly into the wind. Whoever has the chaff lies closest of all, invites her girlfriends to chop cabbage before everyone else. They noticed the sequence of the location of the mounds of chaff in others; this sequence was observed when carrying out cabbages.

Rhymes. Playing with them is very popular among children. The host counts aloud (more recently, professional poets have also begun to compose counting rhymes), usually in warehouses, each time touching one of the participants games. Whomever the last syllable "falls" on, either to drop out or to go out. (For more details on counting rhymes, see the Word Games section.)

Anyone who has seen broadcasts of the draws of previous tournaments can imagine how boring and lengthy this procedure seems. Reporters from the Bleacherreport agency came up with several ways to spice up today's ceremony. "RG" brings to your attention the most interesting of them.

Play the lottery

To do this, it will not be necessary to change the procedure for the draw at all, but for the audience it will become much more exciting. First, you need to issue special bingo cards that anyone can buy for a small amount. The proceeds will go to charity.

And then, if the sequence of balls drawn matches the one indicated on your card, you are entitled to a cash prize. Of course, for FIFA this enterprise is unprofitable, but, on the other hand, 22 sponsors international federation football associations are quite capable of covering possible costs.

Put in one of the spider balls

The Brazilian wandering spider is one of the most venomous in the world. What if the ball with such a "comrade" will appear in the X basket, which will be created in order to separate the European teams into groups? Adrenaline to the audience and participants of such a show is guaranteed. Of course the case may end fatal, but there is also a positive point: it is believed that the poison wandering spider prolongs erection.

Arrange a draw for undressing

As you know, the procedure will be carried out famous football players past years: Alcides Ghija, Jeff Hurst, Cafu, Fabio Cannavaro, Mario Kempes, Fernando Hierro, Zinedine Zidane and Lothar Matthäus. Let the participants of the draw name the country before pulling out the ball: if they guess correctly, the procedure continues, if not, you need to take off part of your clothes. TV ratings for such a show will be provided.

Run a skill competition

Let the players choose their own groups. It is necessary to make a massive screen with eight holes according to the number of groups. Further, the player from each of the 32 teams receives the right to strike. Which group a particular team will fall into depends on the accuracy of its player. If there are already four balls in the hole, it closes. The order of punches can be set according to the FIFA rating.

Turn your broadcast into a holiday

It must be admitted that the above methods to stir up the draw are quite radical for FIFA and are unlikely to be used in the near future. But no one can prevent you from arranging a holiday during the draw. For example, you can play a drinking game.

every time Blatter says - 1 sip

bad joke from hosts - 2 sips

non-opening balloon or problems with reading the country - 2 sips

mention of the words "samba" and "carnival" - 1 sip

demonstration of videos from previous ceremonies - 3 sips

extracting your team from the basket - gulp to the bottom