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EFFECTIVE WAYS OF USING FOLK ORAL LITERATURE MATERIALS
IN THE DEVELOPMENT OF ARTISTIC AND AESTHETIC ABILITIES
G.S.Kaxarova
Doctoral student of NamSU. Namangan, Uzbekistan
https://doi.org/10.5281/zenodo.16728728
Abstract:
This article analyzes the pedagogical potential of using samples
of oral folk art to develop the artistic and aesthetic abilities of primary school
pupils. It highlights modern requirements for aesthetic education, the didactic
functions of folklore genres, and the mechanisms for their integration into the
educational process. The study describes ways to foster figurative thinking and
aesthetic sensitivity through dramatic expression, visual activities, and creative
writing. The inclusion of folk art is substantiated as a relevant methodological
direction for competence-based education.
Keywords:
oral folk art, aesthetic education, artistic and aesthetic abilities,
primary education, figurative thinking, pedagogical approaches, competence-
based learning, dramatic expression, visual activity
In the 21st century, the development of human capital is becoming
increasingly linked not only to technical or economic knowledge, but also to
oneʼs inner world, aesthetic worldview, cultural thinking, and artistic taste. In
this regard, aesthetic education must be seen as an integral component of the
general education system, carrying not only educational but also cultural, moral,
and civic significance. At the primary education stage, it serves as a foundation
for the formation of figurative thinking, intrinsic appreciation of art, and
evaluative attitudes, since it is during this period that the child learns not only to
perceive the surrounding beauty but also to express, evaluate, and reflect it
creatively. Aesthetic education is regarded as a means of guiding the child
toward human perfection, and it is closely connected not only with pedagogical
methodology but also with sociocultural conditions, the system of national
values, and the artistic richness of the educational environment. The fact that
this process is regulated at the level of state policy further emphasizes its
relevance. In particular, the Presidential Decree of the Republic of Uzbekistan
dated October 8, 2019, No. PF-5847, “On the Concept for the Development of the
Higher Education System until 2030,” identifies the integration of innovative
approaches, learner-centered pedagogy, aesthetic education, and national values
as strategic priorities at all stages of education. The conceptual framework
outlined in this document sets comprehensive requirements for primary
education as well. Specifically, the development of artistic and aesthetic thinking
in young learners, the cultivation of a conscious attitude toward national culture,
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the ability to understand oneself through art, the enrichment of the inner world,
and the nurturing of evaluative aesthetic skills are acknowledged as core
directions of the national education policy.
Modern curricula and teaching programs approved by the Ministry of
Public Education of Uzbekistan recommend the wide implementation of
activities based on oral folk art within subjects such as “Reading Literacy,”
“Visual Arts,” and “Music,” which contribute to aesthetic education. This
approach serves, on the one hand, as a means of transmitting the historical and
cultural heritage of the people to students, and on the other hand, as a rich
source for the development of figurative thinking, expressive speech, and
aesthetic taste. Such methods call for a reevaluation of oral folk art as a didactic,
aesthetic, and moral resource. In working with primary school pupils, aesthetic
education can be effectively implemented not only through visual or musical
media but also through the artistic imagery, symbolism, and moral content of
oral folk art. Through tales, riddles, proverbs, and epics, children enrich their
worldview with aesthetic means and begin not only to perceive beauty but also
to reflect it in their speech, expression, and attitudes.
Oral folk art is a living mirror of national consciousness, reflecting
centuries of artistic-aesthetic views and moral values passed down through
generations. The imagery, plots, dramatic conflicts, moral conclusions, and
symbolic structures contained within these texts reflect the aesthetic ideals and
ethical norms formed in the public consciousness. Therefore, oral folklore
materials should be considered not only as historical-cultural sources but also as
pedagogical tools serving didactic, moral, and aesthetic purposes today. Each
genre—fairy tale, epic, proverb, riddle, legend through its poetic structure,
emotional depth, and meaningful content, leads the child to perceive beauty,
reflect morally, expand imagination, and activate artistic thinking and aesthetic
sensitivity.
From a pedagogical point of view, oral folk art provides effective support
for integrative, multifaceted, and activity-oriented education, enabling the
harmonious development of perception, emotional engagement, and social
attitudes in learners. The integration of these materials with modern
pedagogical technologies particularly interactive methods, dramatic expression,
creative writing, staging, visual arts, and problem-based reading plays a vital
role in expanding pupilsʼ aesthetic awareness and individual artistic thinking.
From a competence-based perspective, oral folk art contributes to the formation
of not only subject-related knowledge and skills but also broader socio-cultural,
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aesthetic, communicative, and reflective competences. These materials nurture
studentsʼ abilities to make aesthetic judgments, comprehend symbolic meanings,
analyze artistic speech, express imagery, convey emotions through art, and
demonstrate verbal and creative activity. This, in turn, forms a basis for the
implementation of key competences envisaged in primary education, since oral
folk art is a unique means of shaping both aesthetic taste and moral awareness
in a harmonized manner. Through carefully selected texts, children develop an
understanding of opposing concepts such as good and evil, honesty and deceit,
courage and cowardice, and labor and laziness through figurative means. This
experience fosters their ability to apply ethical and aesthetic evaluation in real
life.
Observations confirm that the use of oral folk art in primary education not
only enriches the artistic and aesthetic content of teaching but also requires the
introduction of new pedagogical approaches. For example, dramatization
activities enhance pupilsʼ figurative perception and role sensitivity, while
creative writing based on fairy tales stimulates imaginative thinking and
aesthetic vision. Proverbs and riddles develop evaluative aesthetic reasoning,
and integration with visual arts strengthens the ability to perceive and express
imagery individually. Altogether, oral folklore transforms aesthetic education
into a learner-centered, multifaceted, and creative process.
The artistic quest technology introduced by Russian scholar S.N.Bezdetko
is recognized as an innovative way to integrate oral folk art into modern
pedagogy. This technology enables learners not only to read folklore texts but
also to actively perform and dramatize them. Through such didactic tools,
students develop figurative thinking, emotional analysis, dramatic speech, and
personal aesthetic positioning. These methods elevate learners from passive
recipients of texts to active creators, allowing them to acquire competencies in
aesthetic judgment and creative reflection through narrative plots and dramatic
conflicts.
Uzbek researchers have also developed methodological models for
applying oral folk art in aesthetic-competency-based education. They emphasize
phased analysis, dramatization, integration with visual arts, and the use of
proverbs, tales, and songs to enhance studentsʼ emotional resonance, expressive
speech, and moral values. Such approaches transform oral folklore into a key
tool for integrative and creative aesthetic education.
In conclusion, the use of oral folk art in primary education is a
theoretically and practically grounded pedagogical approach that effectively
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fosters studentsʼ artistic and aesthetic abilities. Tales, legends, proverbs, and
riddles, through figurative language, moral-aesthetic messages, and symbolic
meanings, significantly contribute to the development of visual thinking,
aesthetic sensitivity, and creative expression. Methodologically, the aesthetic-
competency-based instruction of oral folklore promotes learnersʼ active
engagement in the learning process. Through dramatization, visual and
expressive activities, creative writing, and role-playing, students become active
participants in the artistic process, thereby enhancing their imaginative
perception and shaping a distinctive aesthetic stance. Oral folk art strengthens
studentsʼ cultural identity, nurtures their capacity for aesthetic evaluation, and
promotes the gradual formation of essential educational and life competences.
Future research and educational practice should focus on developing evaluation
criteria, systematizing didactic materials, and integrating digital technologies to
enhance the aesthetic and competency-based quality of instruction.
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