Традиционная культура, как ресурс психического развития

Fairly spacious room. Boys shirts and girls with ribbons in their braids.Stamp your right foot and slightly bowing. Girl smiling towards me, making it clear that the invitation was accepted. I choose a place in the circle, and we stand, hand in hand, and ready to the steps and Priklopil. Accordion twitching of the fingers, the melody, and a special sweeping mood quietly wakes up somewhere between my and her hands. The hubbub fell silent, leaving only the melody and a couple ready to dance. All the way boys look at each other...

I picked up a partner, circling her famously put "the loop" and begin the first knee Alapayevsk quadrille.

I remember in kindergarten we used to play "caravan" on every birthday. Then another, sometimes in elementary school, but not every time. But after the fifth is not played at all. Once turned to this game already as a student, working with the children. Guys of any age enthusiastically dance in a circle and choose: "but this love". What other popular games I know? In the first class are invariably on the walks we ran into "chains are forged". Years in twelve high school students taught us to play "Aram-shim-shim". This is clearly some very distorted version of the "benches", or even some kissing games we were embarrassed and amused. Remember, we are interested in the jump tag on each change. That's all cultural richness. Even if you add the immortal tag and hide-and-seek, gaining at best a dozen games. Well, football.

Not to say that due to the fact that we rarely played, a little running and prefer walking TV series we grew up with some incorrect. To say such a thing, of course, impossible. But now, as for adults, I meet with some Russian fun, it is scary. My adult strength is not always enough to keep the rules, invented for children.

why this long introduction? The fact that for several years my colleagues and I are trying to teach them to play. In our popular games, we see the source of forces for such development, which can only dream of the coach of the Olympic team of Russia.

I think this problem can be formulated as "ecological development of the child." The point is that the native culture has more resource for comprehensive disclosure of the new man. The form and content of selected ancestors, transmitted from mothers to children, this is the algorithm that suits our mentality. However, it just means that each culture has its own logic of education, their traditions, due to climatic, ethnic, historical factors. I don't know how it is in South Africa with skating, but neither in Peter, nor in the Urals, I have never met a game "kill the crocodile first."

Recently in my training group got the boy from the "folk school". When asked what his school differs from the others, the teenager replied that nothing. Then added, with dances and songs. "And the lessons tell you how ancestors lived. First they said that this teaching is optional, and then made us all... Tired already... Chase dancing Yes. How much can you leg to twitch?!" It turned out that for this specific boy — the boredom of it all, and do not understand what.

will Disprove the above. There is no algorithm upbringing. Specific criterion "sustainability" there is no development, all individually. Each man is the path of mastering of social norms, develops mental processes and generates important personal quality. All the way. For a young man whom I have just quoted an example, did not become a natural to meet girls in a dance, not chat. Or compete in youthful prowess instead of competition on the PSP (gaming consoles to computers). And I think it's possible — maybe the culture in their school were given slices in the classroom! And the culture — it's a natural process. Under duress do not produce the internal rate or motivation for development, so the implementation of the curriculum. Again, back to the issue of integrity. Hardly a man (for example, the aforementioned teenager) will speak disparagingly about the Russian quadrille, if it is to know that the basis of folk dances lies a martial art, the ability to move in battle.

popular culture is the context that allows the child to open up as widely as possible and complete. To develop intelligence and attention, perception and speech, self and respect for the elderly, criticality and creativity. Every species, every race, nationality, in every field, on every street and in every family has developed its own educational tradition. To peer into their contents, to isolate features of different views on parenting — the hard and important work.

an Analysis of educational means, which appeared before the term "education", presents us with an extract of the experience of practice and not of reasoning and speculation. People change, of course, but changing and culture — if she's still alive. Here only then already triggered the principle of "from the song words can not erase" until you pay attention to the way that people did in order to help a specific mother to raise this child. This mysterious word "people" cannot be included in the subject of the lectures, study the book, to create in a single space.

Moving from the General to the particular, we note the following caveat. The child comes to psychological training with this specific problem (even if not formulated it right) — to learn to communicate with peers, to negotiate with their parents to pass the exams. A psychologist offers him a part in the games exercises. Offers an analysis of the interaction of the game... But many of the exercises, as I wrote, taken from the national culture in which the child seems to be born. Russian — in Russian culture, Swedish — in Swedish. No doubt that any people's experience contains within itself the preconditions for the formation of the media culture the ability to live in their society.

summarizing, we can say that culture is naturally dynamic. Of course, we will not fit all the educational methods described in the writings of ethnographers. Of course, choosing exercises for training, the psychologist is guided not only by intuition but also by science. Questions about the integrity of culture beyond the boundaries of the stated topic. I just want to focus on the fact that over time the educational environment needs to progress, to change, adapting to the pace of modern children. But the reality is different — a psychologist, a leading children's training, uses a century ago. Just because this child is not enough.

Perhaps the solution is to saturate the daily life of every child hints of folk culture. For example, bypassing some domestic cartoons, I want to mention the film "Grandma ezhka and others". Indeed modern technology, filled with proven content! Uses images taken from native folklore. The identity of cartoon is felt in the animations, and in the dialogues and in the story. Unfortunately, to find such work in our time is not easy, but possible. The main thing — to understand what to look for, choosing intuitively on the shelves of "environmentally friendly product" for a child's development.

Another area of research is immersion in the culture as a whole, with the head. Not a fleeting reading of a fairy tale or a game of hide and seek, but the journey expands the picture of the world. Here it is a question about clubs or schools of folk culture. On the places where children learn about culture directly through its carriers.

Already gathering material for this article, I drew attention to the fact that organizations studying Slavic culture, in our city not so little. Even if we consider only those that are open to students of folklore, music ensembles, centres of folk art... But it often happens that a child working in these clubs, learns about the traditions as something lifeless, dried: "so it was, so lived, that's the way". Only.

I believe the child should feel a free spirit, a mood, a condition that occurs in the team only when people really live by the rules, which sing and talk in fairy tales. And such organizations are, and the mood you can feel it.

...the Dance continues. From the whirling of the walls are reversed. The only constant point in space — the eyes of the partner, which I keep a hot hand. We smile. The legs move quite automatically, getting in harmony, in the rhythm of the music, as if on my knees positioned ears like a grasshopper. Shoulders back, I picked up the lady and carry her once again in a circle, to the next figure of the clockwork quadrille. After the next "fence" picked up the girl by the waist and, while circling, the look in his eyes: not tired? Cheerful heels displays intricate trills and calms me down: "no, not tired". "That's great, I ottopview. — Live, then!"

And bring the partner for the new circle.