DIY Baba Yaga: a selection of interesting ideas. Good Baba Yaga from a plastic bottle and tights (MK) make Baba Yaga

Purpose: making a gift, amulet and toy with your own hands.

The target audience: teachers and school educators, additional education teachers, parents. For a wide range of readers interested in Slavic culture.

Master class: Amulet doll “Baba Yaga” (from the series of master classes on the topic “Folk doll” during the implementation of the “Rainbow of Creativity” program)

Target: Transfer of personal professional experience in the field of creative and teaching activities. Improving the professional skills of teachers in the process of mastering the experience of making the “Baba Yaga” amulet doll.

Tasks:

· formation of an idea about the production of folk dolls as an attribute of the spiritual culture of the Russian people.

· instilling interest in making amulet, ritual and game dolls;

· creation of a play doll using traditional technology.

· in children's master classes, the development of fine motor skills and primary handicraft skills.

· development of individual inclinations and creative abilities.

Russian Baba Yaga is a famous fairy-tale character, controversial and mysterious. Many believe that Yaga is an evil, scary witch who lives in a dense forest. In fact, this is the first assistant, a wise adviser, and sometimes a hospitable hostess. He will tell you where to get living water, and where to get the Firebird, how to hide from enemies and make true friends.

To understand the role of Baba Yaga, you need to read fairy tales and legends again, comparing them with the knowledge of the rituals of the ancient Slavs. Popular wisdom claims that for any knowledge we must turn to our ancestors. Where are the ancestors? From the point of view of folk culture - in the other world. Baba Yaga is the head of this other world. And in order to gain some knowledge, you need to turn to the other world, to the experience of your ancestors, which is what fairy-tale heroes do, because only those who follow traditions, turn to the wisdom of their ancestors, gain all the blessings on Earth.

In not a single fairy tale did Baba Yaga kill anyone. There is not a single text recorded where she ate at least one person. Threatened - yes. But all her hostile actions were only precautionary in nature.

In ancient times, this complex ritual could also be led by a female witch, who was later replaced by a male teacher with the disappearance of matriarchy. Probably, such a woman symbolically represented the same Great Mother, the goddess - the ruler and ancestor of animals, associated with the other world of the dead. The image of such a “knowing” woman could well serve as the basis for creating the fairy-tale image of Baba Yaga, coming from the forest, kidnapping children and trying to fry them in the oven (“kill” the child so that a man will be born). Once upon a time in Rus' there was another wonderful ritual - “baking” a sick child. The midwife placed the child on rolled out dough (a spell was cast into this dough) and wrapped the child in it. After that, she placed it on a bread shovel and stuffed it into a warm oven, symbolizing the female womb. There the baby “fostered”, became stronger and more vital. It was believed that diseases were burned and came out through the chimney along with the smoke, and the “rebaked” child became healthier. Here is Ivanushka on a shovel by the stove.

Baba Yaga is an echo of that distant past when women ruled the world. But since with the departure of matriarchy, men took everything into their own hands, they relegated almost all female images and made them secondary. So all that was left of the beautiful Female Ancestress was an old, wrinkled, bony shell. But the spirit in her is still alive, she has not lost her magical knowledge.

Therefore, the Baba Yaga Doll can become an excellent home talisman, a keeper of the hearth, like a brownie.

Materials and tools:

1. Light (not white) fabric for the face 17x17 cm.

2. Filler.

3. A piece of a match or stick 1 cm.

4. A stick or twig the width of a finger, 14-16 cm long.

5. Thick fabric for twisting (for stability of the doll).

6. Two strips of light colored fabric 13x13 cm (for hands).

7. Two strips of light fabric 4x9cm (for palms).

8. A piece of light colored fabric for an undershirt, 18x25 cm.

9. Dark fabric for a skirt 13x35 cm.

10. A scrap of fabric for an apron.

11. A piece of fleece or fur for a vest, 7x19 cm.

12. A scrap for a scarf.

13. A broom twig, dry grass or washcloth.

14. Linen or hair thread.

Progress:

Step 1.

Place a piece of matchstick in a piece of fabric for the face to form the nose.

Step 2.

We wrap the thread around the nose.

Step 4.

We wrap the head to the base branch.

Step 5.

To stabilize the doll, we wrap a support-twist made of thick fabric onto the lower part of the base stick; the diameter of the twist should be 4-5 cm.

Step 6.

Fold the piece of fabric for the palms lengthwise 4 times.

Step 7

We bend the palm blanks in half and tape them to the sleeves.

Step 8

Turn it inside out.

BABA YAGA... WHO IS SHE?

V.Ya. Propp. Historical roots of fairy tales (fragments)

Yaga is a very difficult character to analyze. Her image is made up of a number of details. These details, put together from different fairy tales, sometimes do not correspond to each other, do not combine, do not merge into a single image. Basically the fairy tale knows three different forms of yaga. She knows, for example, the giver yaga to whom the hero comes. She questions him, from her he (or the heroine) receives a horse, rich gifts, etc. Another type is the kidnapping yaga. She kidnaps children and tries to fry them, followed by escape and rescue. Finally, the fairy tale also knows a warrior yaga. She flies to the heroes' hut, cuts a belt from their back, etc. Each of these types has its own specific features, but in addition there are features common to all types. All this makes research extremely difficult.

Walking “wherever they look,” the hero or heroine ends up in a dark, dense forest. The forest is a permanent accessory to the yaga. Moreover, even in those fairy tales where there is no yaga (for example, in the fairy tale “Kosoruchka”), the hero or heroine still certainly ends up in the forest. The hero of a fairy tale, be it a prince or an exiled stepdaughter, or a runaway soldier, invariably ends up in the forest. This is where his adventures begin. This forest has never been better described. It is dense, dark, mysterious, somewhat conventional, and not entirely believable.

Here, a whole ocean of materials related to ideas about the forest and its inhabitants opens up before the researcher. In order not to get lost here, you must strictly adhere to only those ideas that are associated with the fairy tale. Thus, goblin and mermaids are almost not reflected in the fairy tale. The mermaid appears only once in the entire Afanasyev collection, and then in a saying. The goblin is always nothing more than a renamed yaga. The closer the connection between the fairytale forest and the forest that appears in initiation rites. The initiation ceremony was always performed in the forest. This is a constant, indispensable feature of it throughout the world. Where there is no forest, children are taken at least into the bush.

The forest as a separate isolated element does not prove anything. But that this forest is not entirely ordinary can be seen from its inhabitants, and can be seen from the hut that the hero suddenly sees in front of him. Walking “wherever his eyes look” and accidentally raising his gaze, he sees an extraordinary sight - a hut on chicken legs. This hut seemed to be familiar to Ivan for a long time: “We’ll climb into you, eat bread and salt.” He is not at all surprised by her and knows how to behave.
Some fairy tales say that this hut “spins,” that is, it rotates around its axis. “In front of her stands a hut on chicken legs and constantly turns around” (Aph. 235). “It stands and turns” (K. 7). This idea resulted from a misunderstanding of the word “turns.” Some fairy tales clarify: when necessary, it turns. However, it does not turn by itself. The hero must make her turn, and for this he needs to know and say the word. Again we see that the hero is not at all surprised. He doesn't mince words and knows what to say. “According to the old saying, according to my mother’s saying: “Hut, hut,” said Ivan, blowing on it, “stand with your back to the forest, with your front to me.” And then the hut turned to Ivan, a gray-haired old woman was looking out of the window” (Af 560). “Hut, hut, turn your eyes to the forest, and turn your gates to me: I will not last forever, but last a night. Let the passerby in” (K. 7).

What's going on here? Why do you need to turn the hut? Why can't I just log in? Often in front of Ivan there is a smooth wall - “no windows, no doors” - the entrance is on the opposite side. “This hut has no windows, no doors, nothing” (17). But why not go around the hut and enter from the other side? Obviously this is not possible. Obviously, the hut stands on some kind of visible or invisible edge that Ivan cannot step over. You can only get to this edge through the hut, and the hut needs to be turned “so that I can get in and out” (See 1).

The open side of the hut faces the thirtieth kingdom, the closed side faces the kingdom accessible to Ivan. That is why Ivan cannot go around the hut, but turns it around. This hut is a guard post. He will not cross the line until he is interrogated and tested to see whether he can go further. Actually, the first test has already been passed. Ivan knew the spell and managed to blow on the hut and turn it.

We will continue to follow the actions of the hero. The hut has turned, and the hero enters it. He doesn't see anything yet. But he hears: “Fu, fu, fu! Before, the Russian spirit was unheard of, unseen; today the Russian spirit sits on a spoon and rolls into its own mouth” (Af. 137). “The Russian spirit came to my forest!” (North 7). Or in short: “Ugh, how Russian bone stinks” (Af. 139). We need to dwell on this detail. It is very significant.

However, as soon as we turn to comparatively earlier stages, we immediately receive the key to our motive. This material shows that Afanasyev was not mistaken in asserting that Ivan’s smell is the smell of a person, and not a Russian. But his statement can be clarified. Ivan smells not just like a person, but like a living person. The dead and incorporeal do not smell, the living smell, the dead recognize the living by their smell.

The smell of Ivan is the smell of a living person trying to penetrate the kingdom of the dead. If this smell is disgusting to the yaga, then this is because the dead generally experience horror and fear of the living. No one alive should cross the cherished threshold.

The canon of the fairy tale requires that the exclamation “Fu, fu, fu,” etc. be followed by an inquiry about the purpose of the trip: “Are you torturing for business or flying for business?” We expect the hero to now reveal his goal. The answer he gives must, however, be recognized as completely unexpected and not resulting from the threats of the yaga. First of all, he demands to eat. “Why are you shouting? First, give him something to drink and feed, take him to the bathhouse, and then see him out and ask questions” (Af. 105). And, what is most extraordinary, the yaga completely humbles herself with such an answer: “Baba Yaga gave them something to drink, fed them, and took them to the bathhouse” (105). “She got down and bowed low” (137).

Note that this is a constant, typical feature of yaga. She feeds and treats the hero. Let us also note that he refuses to speak until he is fed.
What is this? Why do heroes never eat, for example, before leaving home, but only at the yaga? This is not an everyday, not a new-realist trait, this trait has its own special history. Food has a special meaning here. By demanding food, the hero thereby shows that he is not afraid of this food, that he has the right to it, that he is “real.” That is why the yaga submits to his demand to give him food.

We now turn to consider the yaga itself. Her appearance is made up of a number of particulars, and we will consider these particulars first separately, and only after that we will consider her figure as a whole. The yaga itself appears in two forms: either when Ivan enters, she lies in the hut - this is one yaga, or she flies in - this is a yaga of another type.

Yaga the Giver is in the hut when Ivan arrives. First of all, she is lying down. It lies either on the stove, or on a bench, or on the floor. Further, she occupies the entire hut. “There is a head in front, a leg in one corner, another in the other.” (Aph. 102). “Baba Yaga lies on the stove, a bone leg, from corner to corner, her nose rooted in the ceiling” (137). But how do you mean “your nose has grown into the ceiling”? And why does the yaga take up the entire hut? After all, she is nowhere described or mentioned as a giant. And, therefore, it is not the hut that is big, but the hut that is small. Yaga resembles a corpse, a corpse in a cramped coffin or in a special cage where they are buried or left to die. She is a dead man.

The Russian yaga does not have any other signs of a corpse. But Yaga as an international phenomenon possesses these characteristics to a very wide extent. “They are always characterized by the attribute of decomposition: a hollow back, softened meat, brittle bones, a back, pitted
eaten by worms" (Guntert).

If this observation is correct, then it will help us understand one constant feature of the yaga - bone-footedness. To understand this feature, we must keep in mind that “awareness of a corpse” is a very late thing. In the earlier materials from America that we have already cited, the guardian of the kingdom of the dead is always either an animal or a blind old woman - without signs of a corpse. Analysis of the yaga as the mistress of the kingdom of the forest and its animals will show us that her animal form is her oldest form. She sometimes appears like this in Russian fairy tales. In one Vyatka fairy tale by D.K. Zelenin (3B 11), which is generally replete with extremely archaic features, the role of a yaga in a hut is played by a goat. “The goat lies on the beds, the legs are on the beds,” etc. In other cases, it corresponds to a bear, a magpie (Aph. 249, 250), etc. But the animal never has a bone leg, not only in Russian material (which could be explained by phenomena of language - “yaga” rhymes with “leg”), but also in international material. Consequently, the bone leg is somehow connected with the human appearance of the yaga, connected with its anthropomorphization. The transitional stage from animal to man is a man with an animal leg. A yaga never possesses such a leg, but Pan, fauns and a motley line of all evil spirits possess such legs. All kinds of elves, dwarfs, demons, devils have animal legs. They retain their animal legs just as the hut preserved them. But at the same time, yaga is so firmly connected with the image of death that this animal leg is replaced by a bone leg, that is, the leg of a dead person or skeleton. The bone-footedness is due to the fact that the yaga never walks. She either flies or lies, that is, she outwardly manifests herself as a dead person.

Yaga gradually becomes clear to us as the guardian of the entrance to the thirtieth kingdom and at the same time as a creature associated with the animal world and the world of the dead. She recognizes the hero as a living one and does not want to miss him, warns him of dangers, etc. Only after he has eaten does she show him the way. She recognizes Ivan as if he were alive by his smell. But there is another reason why the yaga perceives Ivan by smell. Although this is never said in the Russian fairy tale, it can still be established that she is blind, that she does not see Ivan, but recognizes him by his smell. This blindness was, by the way, already suggested by Potebnya. He explains this blindness as follows: “Yaga seems, by the way, to be blind. One can guess that Baba’s blindness means ugliness. The idea of ​​darkness, blindness and ugliness are akin and can replace one another.” This is proven by analysis of the root “lep” in Slavic languages ​​(Potebnya). This conclusion of Potebnya is incorrect simply because she is blind not only on Russian or Slavic soil. The blindness of creatures like Yaga is an international phenomenon, and if we were to take the path of studying the etymology of a name or word for the phenomenon denoting it (which is always very dangerous and often incorrect in essence, since the meaning changes, but the word remains), then it would be necessary to study a comparative study of the designation of blindness in different languages. None of them will lead to the name of the yaga. But such an analysis might show that “blindness” does not simply mean the absence of vision. Thus, the Latin caecus not only means active blindness (unseeing), but also, so to speak, passive (invisible - caeca nox - “blind” night). The same can be deduced regarding the German ein blindes Fenster.

So, an analysis of the concept of blindness might lead to the concept of invisibility. A person is blind not in himself, but in relation to something. Under "blindness" the concept of a certain reciprocity of invisibility can be revealed. In relation to Yaga, this could lead to a transfer of the relationship of the world of the living to the world of the dead: the living do not see the dead in the same way as the dead do not see the living. But, one might argue, then the hero would also have to appear blind. Indeed, this is how it should be, and this is how it actually is. We will see that the hero who ends up with the yaga becomes blind.

But is Yaga really blind? This is not directly visible, but it can be judged by some indirect signs. In the fairy tale “Baba Yaga and Zhikhar,” the yaga wants to kidnap Zhikhar and flies to him at the moment when his friends and roommates, the cat and the sparrow, have gone to get firewood. She starts counting spoons. “This is the cat’s spoon, this is Vorobyov’s, this is Zhikhar-kova.” Zhikharko could not stand it, he roared: “Don’t touch my spoon, Baba Yaga!” Baba Yaga grabbed Zhikharko and dragged him away,” (Af. 106). So, to find out where Zhikharko is, the Yaga must hear his voice. She doesn’t look out, she listens, just as she sniffs out an alien.

Another feature of the yaga's appearance is her sharply emphasized feminine physiology. Signs of gender are exaggerated: she is depicted as a woman with huge breasts:
“Tits through the bed” (Onch. 178. The bed is a pole for towels, etc.); “Yaga Yagishna, Ovdotya Kuzminishna, nose to the ceiling, tits across the threshold, snot across the garden bed, raking up soot with her tongue” (Sm. 150). Or: “On the stove, on the ninth brick, lies Baba Yaga, a bone leg, her nose has grown into the ceiling, snot is hanging over the threshold, her tits are wrapped on a hook, she is sharpening her teeth.”

So, Yaga is equipped with all the signs of motherhood. But at the same time, she does not know married life. She is always an old woman, and an old woman without a husband. Yaga is not the mother of people, she is the mother and mistress of animals, moreover, forest animals. Yaga represents the stage when fertility was thought through a woman without the participation of men. Hypertrophy of the maternal organs does not correspond to any marital functions. Maybe that is why she is always an old woman. Being the personification of gender, she does not live the life of gender. She is already only a mother, but not a spouse either in the present or in the past. True, in the fairy tale she is never called the mother of animals. But she has unlimited power over them.

It is widely believed that the yaga is a character who is typically given difficult tasks. This is true only for women's fairy tales, and even then it can be shown that these tasks are mainly of late origin. A man is given tasks much less often, rarely at all, and they are very few in number. Usually the reward follows immediately after the dialogue. ""You can hardly get it! Shall I help" - and gives him his horse" (Aph. 174). “She fed him, gave him something to drink and gave him Zolotitsa Mare” (Sev. 46). There are many such cases that can be cited; this is a typical form. The question arises: why does the yaga reward the hero? Outwardly, artistically, this award is not motivated. But in the light of the materials given above, we can say that the hero has already passed a number of tests. He knew the magic of opening doors. He knew the spell that turned and opened the hut, he knew the magic of gestures: he sprinkled the door with water. He made a propitiatory sacrifice to the beasts guarding the entrance. And, finally, the most important thing: he was not afraid of the yaga’s food, he himself demanded it, and thereby forever joined himself to the host of otherworldly creatures. Questioning follows the test, and reward follows the questioning. This also explains the confidence with which the hero carries himself. In what he sees, not only is there nothing unexpected, on the contrary, everything seems to have been known to the hero for a long time, and is exactly what he expected. He is confident in himself due to his magical weapons. This armament itself is really not motivated by anything. Only occasionally do we meet such characters as an aunt instructing a girl on how to behave with a yaga. The hero knows all this because he is a hero. His heroism lies in his magical knowledge, in his strength.

About Baba Yaga from other sources

Today, various dolls and figurines made by hand are very popular. They can serve as interior decoration or an excellent souvenir for connoisseurs of this type of art. Most often, craftswomen make amulets and fairy-tale characters. For example, Baba Yaga can be made from different materials. Moreover, there are techniques available for preschool children, but there are also more complex executions of such figures.

On the Internet you can find many video tutorials on making various dolls. Baba Yaga is the most interesting character and textured in terms of execution. We bring to your attention several options for making this figurine.

DIY Baba Yaga from pine cones

Baba Yaga, made from natural materials, looks quite original. For this we need:

Paper cup;

Twigs;

Pine and fir cones;

A piece of fabric;

Plasticine;

Knitting.

We cover the outside of a paper cup with twigs - this will be Baba Yaga's stupa. Then we will make a broom from a twig and several pine needles, tie them to each other with a thread. Now let's start making the head. Take a cone with a tail, where the tail will be the nose. We place knitting threads (hair) between the scales of the cone. The eyes must be drawn on paper and glued to the face.

We put a scarf on our head, which we will make from a piece of cloth. Hands are twigs. Now we attach the head and arms to the body (fir cone) using plasticine.

We seat our Baba Yaga from cones in a mortar, at the bottom of which we put paper. We glue the broom to the hand and our Baba Yaga in the mortar is ready. Photos of this craft can be easily found on the Internet.

DIY Baba Yaga using stocking technique

Baba Yaga, made using the stocking technique, looks very naturalistic. Typically, such dolls serve as interior decoration. There are collectors of such figurines who greatly value exhibits made using this technique. To make it you need to take:

• Nylon material;
• Sintepon;
• Pieces of fabric;
• Wire;
• Gray knitting threads;
• Eyes.

Description of work

We start work from the head. First, we make it from padding polyester (a ball of the required size). Now a nose blank is made from wire, which is wrapped in padding polyester and attached securely to the head in the right place. Now we cover this blank with nylon (from tights or stockings), form the chin and cheeks (protruding places).

Then we proceed to the screed. First we form the nose, then the cheeks and lips. Lastly, we tighten the area of ​​the eyes and forehead, forming wrinkles on it. For the screed, we select threads that match the color of the nylon and a needle of the required size.

We decorate the eyes with pieces of nylon, thereby creating wrinkles around the eyes, and glue them to the face. We make hair from knitting threads. You can watch a master class that shows in detail the technique and diagrams of the screed.

For the hands, we make a wire frame, which we wrap with padding polyester, paying special attention to each finger. Now we cover this blank with nylon and stitch the spaces between the fingers. For the torso and legs, you can take stockings and stuff them with padding polyester. We form a hump on the body. We shape and stitch the foot. Now you need to put all the parts together.

Sew clothes for the doll from pieces of fabric and don’t forget about the headdress; a vest made of burlap will look very good; you can make a broom from twigs. The nylon doll is completely ready.

Baba Yaga from plastic bottles

We bring to your attention a description of how to make a large doll that will look very good in your home area. It can be any size you need. What do we need:

1. Plastic bottles of 1.5 and 5 liters.
2. Polyurethane foam.
3. Glue.
4. Paints.
5. Boots.
6. Broom.
7. Bandage.

Let's start making the doll's frame from plastic bottles (torso and legs). The joints between the bottles are secured using polyurethane foam. We put boots on our feet. We put foam scraps into the bag and form the head. Now the entire figure needs to be covered with polyurethane foam. We cut out the face on the head, and give the body the necessary outlines of the figure and clothing.

We make hands using stockings or tights made of nylon. We stuff them and attach them to the body.

The entire workpiece must be wrapped in a bandage and covered with a mixture of adhesives (PVA and tile). After which you need to paint the figure and create a hairstyle for it or simply tie a scarf. A doll made from plastic bottles must be varnished. Give her a broom. The large figure is ready. Now you can install it anywhere.

We have offered you several examples of making Baba Yaga from scrap materials that will undoubtedly interest a creative person.

Video on the topic of the article

Fairy-tale character Baba Yaga. Master class with step-by-step photos.

The work was carried out by Arina Fedoseeva, a student of class 1 “A” at MBOU gymnasium No. 69 in the city of Krasnodar.
Supervisor: Goncharova Anna Anatolyevna, primary school teacher at MBOU gymnasium No. 69 in the city of Krasnodar.

Description: The master class is intended for joint activities of preschool and primary school children and teachers and parents.

Purpose: toy, souvenir, gift, decorative element of the interior.

Target: make a fairy-tale character - Baba Yaga with your own hands.

Tasks:
- teach how to make Baba Yaga with your own hands;
- master simple and interesting ways of making various parts from waste material;
- teach how to work carefully with glue;
- introduce safety precautions when working with scissors;
- develop fine motor skills of the hands;
- cultivate artistic and aesthetic taste, interest in work;
- develop the child’s imagination and imagination;
- cultivate perseverance and accuracy.

In the fairy-tale story “Kuzka the Little Brownie” by T.I. Alexandrova, which Arina recently read, there was an unusually charming Baba Yaga! And we decided to make a doll to role-play the fairy tale.
Baba Yaga is the most striking character in Russian fairy tales. She is cheerful, and unpredictable, and kind, and evil, and even insidious! Baba Yaga lives in a hut on chicken legs, and uses a broom to fly!

Materials required for work: brown woolen threads, cotton wool, flesh-colored nylon golf, scissors, glue, the top of a plastic bottle, felt in four colors (red, blue, white, brown), fabric, two plastic forks.

Progress:

We put a flesh-colored nylon golf course on the neatly trimmed top of a plastic bottle. We tie the neck of the bottle with woolen thread, and fill the upper part of the golf with cotton wool and give it the shape of a head.

We make hands from two plastic forks: after carefully cutting off the edges, we wrap each fork with cotton wool.

Then we cover it with nylon golf and sew it up. We tighten each tine of the fork with a thread so that it looks like the fingers of a hand.

Now we make the nose: we cut off the elastic from the nylon golf, stuff it with cotton wool and sew it on.

We cut out eyes from blue felt, and pupils from white felt. Glue on Baba Yaga's eyes!

We cut out a fairytale smile from red felt.

Now we glue the finished arms to the body.

Let's make hair: wrap a skein around your palm and tie it. Cut the skein on the other side and straighten it.

Glue the hair to the head.

We make a skirt from brown fabric (we used an old knitted scarf).

Made from orange fabric - a blouse! We wrap the fabric around the upper body and arms and secure the fabric. Now tie the scarf and the outfit is ready! Our Baba Yaga is a fashionista!

Now let's make a fairy broom. We roll a tube out of brown felt and secure it with glue.

We cut wool threads of the same length - about 10 cm. We tie the threads to a felt tube.

Unscrew and tie again. The broom is ready!

There is a hut at the edge of the forest,
There's an old lady who lives there
For many, many years now,
And she has no friends.
Here the hut is spinning
As that old lady wishes.
Turns his back to the forest
And the old lady is very happy.
On the broom every night
She doesn't mind flying...

I can't fly without a broom,
There is nothing to cover the tracks with.
Woe, woe for Yaga,
If she doesn't have a broom.
Look at me,
Well, why am I not beautiful?
My maiden beauty
Can't help but like it!

)
Based on a Russian folk doll.

Materials and cut

1. Rectangle of white chintz 25 x 25 cm.
2. Cut a circle with a diameter of 32 cm from colored chintz (this includes allowances).

3. Rectangles made of colored chintz:
4 cm x 9 cm - 2 pcs. (palms)
16 cm x 8 cm - 1 pc. (warmer)
16 cm x 10 cm - 1 pc. (apron).
4. White and red threads for winding parts, sewing threads are suitable.
5. Thick white cotton thread for gathering the skirt (durable).
6. Linen or linen threads for hair.
7. Cardboard sleeve (you can use a toilet paper tube or roll a strip out of cardboard), height 6-7 cm, diameter 5 cm. I get the sleeves from a hardware store that sells flower pots.
8. Hemp twine.
9. A piece of felt, a circle 5 cm in diameter, under the bottom of the mortar. The diameter will be equal to the diameter of the sleeve.
10. Stick, I used a sushi stick, cut it to 15-16 cm from the sharp end. The blunt end should point down and be straight.
11. One match. Cut off the end 1 cm from it.
12. Skewer on a broom.
13. Glue "Moment universal".
14. 5 ruble coin.
15. If Baba Yaga is without a stupa, then you need padding polyester or cotton wool. I used a small piece of cotton wool on my head.
16. A right triangle with sides of 15 cm for a scarf.

Description of sewing a rag doll "Baba Yaga in a mortar"

1. Stupa

Cut a few meters of twine. The exact length doesn't matter; if it's not enough, you can always cut more. Coat the end of the thread with Moment glue and glue it to the inside of the sleeve. We wind the thread onto the wall of the sleeve, threading it inward, in each circle. On one side we glue or sew felt, the diameter coincides with the diameter of the sleeve. The stupa is ready. A 5 ruble coin should fit freely inside.

2. Nose

Take a match and break off a 1 cm piece from it. Fold the white fabric diagonally and find the center. We retreat 1 - 2 cm from the center, insert a match along the diagonal and wrap it with white sewing thread. Straighten out the folds in the fabric. We've got a nose. The nose may be made of a small ball of cotton wool.

3. Head

We coat the end of the sushi stick, which was sharp, with glue and wind the threads into a ball. The diameter of the ball is 2.5 cm. We put cotton wool on top of the ball and wrap it with lightly white sewing thread. We tie the ends of the thread into four knots. It was believed that the number of nodes and windings should be even. We put on a white fabric, placing the center of the fabric on the top of the head. We tie it with white threads around the neck.

4. Leg

We randomly cut out a rectangle from any fabric; it should be several times larger than a five-ruble coin. We wrap a coin in this flap. The tail should be slightly off center. We insert the straight blunt end of the stick onto the coin exactly in the center, wrap the stick with a fabric tail and wrap it with white thread. Now the “bone leg” is ready.

5. Palms and sleeves

Fold a rectangle 5 cm x 9 cm lengthwise into 4 parts, with the cuts facing inward. Iron it. Fold in half. On the rectangle from the head, find two side angles. Fold the fabric along the edge by 0.5 cm. Bend the edge of the corner inward, the fold should be about 4 cm. Place your palm on the fold, removing the edge of the palm by 0.5-1 cm. Gather and wrap with red thread. We tie knots and trim the ends. Fold the bottom corners along the stick and wrap the bottom half of the shirt with white thread.

I forgot to take a photo right away, so I’m showing it after the next stage of work.

6. Warmer

Cut a 16 x 8 cm rectangle lengthwise to the middle. Fold back the edges. The narrow end is cut inward towards the center. Along the wide edge on the back by 0.5 cm.
Place the warmer on top of the shirt with both ends along the front. We overlap the right half from above. We wrap it with white thread at the waist. We straighten the edges.

7. Skirt

Along the edge of the circle of colored fabric we sew a stitch with a needle and thick strong thread. Turn the 1.5 cm seam allowance inside out. Leave the ends of the thread free. If you do not plan to put the doll in a mortar, then fill the bag with the skirt with padding polyester. I didn’t fill it with padding polyester, otherwise the doll wouldn’t fit into the mortar. We put the skirt on the leg from the bottom edge and tighten the thread. Tie tightly at the back with 4 knots. We cut off the ends of the thread. My diameter of the circle was a little smaller (I cut it on a plate), so that the skirt would not fly off, I sewed it to the shower jacket and the shirt at the waist by hand with white sewing thread.

8. Hair and scarf

We wind linen thread around the book along the long edge. Remove the threads from the book. Tie with white thread in the middle of the skein. Sew the center of the hair onto the crown using a needle and thread by hand using simple stitches. Cut the loops of thread into ends. The ends of the hair should be of different lengths. We distribute the hair into four parts, lay two on the back, one on each side in the front.
We bend the long edge of the scarf and tie it around the head, tying two knots at the top above the forehead. Straighten the ends of the scarf.

9. Apron

For a rectangle of colored fabric 10x16 cm, iron the long sides inside out by 0.5 cm and fold it in half. Place the rectangle at the front of the waist, cut side down, fold up. Gather and wrap with twine. We tie the ends at the back and leave them loose. Lower the apron down.

10. Belt

We braid a braid from twine. I took 6 threads 40 cm long. I tied a knot at the ends and braided it, then measured 22-25 cm and tied a second knot. We tie a belt at the waist, the ends of the belt in front.

11. Broom

Measure the size of the broom handle across your palms and break off the sharp edge of a wooden skewer. From the twine, cut the ends randomly into a panicle. Apply glue to the broken edge of the skewer and apply strands of twine around the circumference of the skewer. We wrap it with white thread just above the middle of the length of the threads. We turn the threads towards the edge and wrap them a second time with white thread, stepping back from the edge by 0.5-1 cm. Insert the broom handle into the loops on the palms.
Instead of twine, you can use bast for the broom.

12. We insert Baba Yaga into the mortar, without tucking the apron and belt. Baba Yaga is ready in the mortar.

Note.

Baba Yaga ritual doll brings prosperity, goodness and order to the house. It is advisable to make this doll on the waning moon.
Baba Yaga has her own great backstory, I will not retell it completely, I will only tell you the most interesting things that I once read. Remember the fairy tale about Zhikharka, whom Baba Yaga put on a wooden shovel. So the prototype of Baba Yaga was a sorceress who kept the knowledge of her ancestors. When a weak, premature child was born, they harassed him. She kneaded the dough and wrapped the baby in the dough. They placed the baby on a wooden shovel and thrust it into a warm (of course cooled down) Russian oven. The fabric dried quickly and could damage the child's skin, and the dough dried slowly, the child in the dough was wrapped in warmth all over.
And why I will give it to my neighbor in the village on April 1st, I will tell you in boasts.