Nurturing a creative personality in teaching practice. Methodical manual “Education through creativity Creativity builds neural connections
Consultation for parents: “How to raise a creative person?”
Vanyeva Anna Yuryevna, teacher-psychologist, MBDOU kindergarten No. 35, Kovrov city.Description: I bring to your attention a consultation for parents. It describes the components of creative potential, the main mistakes that parents make when trying to develop their child’s creative abilities, and also provides recommendations for the development of a creative personality. This material will be useful primarily for parents, as well as educational psychologists in educational institutions. The goal of the work is to increase the psychological and pedagogical competence of parents.
Probably, any parent would like to raise their child to be a creative person. What is creativity? Creation- a process of activity that creates qualitatively new material or spiritual values. The main criterion that distinguishes creativity is the uniqueness of its result. A person can be called creative if he has a well-developed imagination and fantasy, he is capable of invention, finding non-standard solutions in various situations.
Imagination- this is the highest mental function, inherent only to humans, which allows you to create new images by processing previous experience. It can be recreative - when the image of an object is created according to its description, and creative - when completely new images are born.
Creativity- this is the ability to be creative, the readiness to create fundamentally new ideas that deviate from traditional or accepted patterns of thinking.
Creative potential is inherent in the child from birth and develops as he grows up. A child’s natural talent manifests itself quite early, but the extent to which his creative potential will develop largely depends on the family. A family can develop or destroy a child’s creative abilities. Therefore, the formation of a creative personality is one of the most important tasks of education.
Speaking about the formation of abilities, it is necessary to dwell on the question of at what age children’s creative abilities should be developed. Psychologists call different periods from one and a half to five years. There is also a hypothesis that it is necessary to develop creative abilities from a very early age.
Preschool childhood is the most favorable period for the development of creative abilities because at this age children are extremely inquisitive, they have a great desire to learn about the world around them. And parents, by encouraging curiosity, imparting knowledge to children, and involving them in various activities, contribute to the expansion of children's experience. And the accumulation of experience and knowledge is a necessary prerequisite for future creative activity. In addition, the thinking of preschoolers is more free than the thinking of older children. It is more independent and not yet suppressed by stereotypes. From all of the above, we can conclude that preschool age provides excellent opportunities for developing creativity. And the creative potential of an adult will largely depend on the extent to which these opportunities were used.
Creative activity is very interesting for a preschooler because it satisfies his desire to act and be productive, as well as the need to reflect the impressions he receives from the life around him, to express his attitude to what he sees and experiences. The kid is happy that he can create an image with his own hands.
Experts distinguish three groups of means of aesthetic education: art, the surrounding reality (including nature) and artistic and creative activities. All these areas are interconnected, and thanks to this, the child actively participates in the creative experience of people. Only an adult can effectively manage children’s artistic activities and the development of their abilities. At the same time, the mental processes themselves develop in artistic and creative activity, raising it to a new level. Ideas about objects and phenomena are formed on the basis of perception. Therefore, the most important condition for the development of a child’s creativity is the development of perception (visual, auditory, tactile, kinesthetic, tactile), the formation of a diverse sensory experience.
The characteristics of a child’s perception are determined not only by the state of his senses, but also by the sensory experience that he acquired in early childhood. Indeed, practice and research show that the earlier you begin to develop the baby’s sensations and perceptions, the more varied and complete his sensory experience will be by the time he begins to draw and sculpt. For the development of imaginative ideas and imaginative thinking, such types of creative activity as visual and constructive are of great importance. It is obvious that, on the one hand, for the successful implementation of visual activity, the development of figurative ideas and thinking is necessary, on the other hand, visual activity plays a huge role in the formation of this kind of ideas and thinking. Imagination is closely related to figurative thinking; both of these processes are based on the aesthetic perception of the world. Without them, artistic and creative activity is impossible. Any type of creativity is based on a good level of development of perception, ideas, imaginative thinking, and imagination. Consequently, the formation of these processes will serve the development of creative abilities. Of course, play and artistic activity provide the greatest opportunities for this.
Creativity is a fusion of many qualities. The components of creative potential are:
1. Rapidity- ability to express the maximum number of ideas.
2. Flexibility- ability to express a wide variety of ideas.
3. Originality- the ability to generate new non-standard ideas (this can manifest itself in answers and decisions that do not coincide with generally accepted ones).
4. Completeness- the ability to improve your “product” or give it a finished look.
How to develop creativity in a child? First, let's look at the most common mistakes that parents make when trying to develop their child's creative abilities.
1. The first and most common mistake is an attempt to act according to a pattern. Stores sell a huge number of so-called “creativity kits”, where the child is asked to create a craft using a ready-made stencil. Parents willingly buy these sets, without thinking that they are aimed at developing diligence, perseverance and accuracy, and not at all at developing creative potential. The main criterion that distinguishes creativity from production is the uniqueness of its result. Therefore, stencils have nothing to do with children's creativity.
In this regard, you should avoid games and toys that do not leave the child any room for imagination - for example, mosaics and construction sets, where you need to put together figures and patterns according to a pattern, or coloring books that already contain colored pictures for example.
2. Second mistake - Parents’ prohibitions on the child’s attempts to create. We are afraid of dirty clothes, dirty floors, walls, unnecessary washing and cleaning. The easiest way to avoid unnecessary hassle is to make the bathroom your workshop. Because space restrictions will prevent the child from getting real pleasure from drawing, modeling, etc.
3. Third mistake - You cannot do something for a child if he can do it himself. You can’t think for him when he can figure it out himself. Unfortunately, hinting is a common way for parents to “help” their children, but it only hurts the matter.
4. Fourth mistake - Parents are in no hurry to get involved in their children’s creative process. But for children, it is parents who are role models! Don't be afraid to try.
1. One of the most important factors in the creative development of children is creating conditions conducive to the formation of their creative abilities.
Parents need to make the process of life and activity of children creative, to put children in situations of cognitive, artistic and moral creativity. It is necessary to organize an interesting and meaningful life for a child, enrich him with vivid impressions, provide emotional and intellectual experience, which will serve as the basis for the emergence of ideas and will be the material necessary for the work of the imagination.
2. Success in raising a creative personality depends on the atmosphere that reigns in your home, on the relationship that has developed between parents and child. It has long been known that for creativity a comfortable psychological environment is required
, so maintain an atmosphere of warmth, trust and creativity at home. Be careful about the process and result of children's activities. It is important to constantly stimulate the child to be creative, encourage his successes and show compassion for failures, and be patient with even the strangest ideas. It is necessary to exclude remarks and condemnation from everyday life. A child deprived of a positive outlet for creative energy may resort to aggressive behavior.
3. When encouraging a child’s creativity, you need to remember that he sees many things in his own way, perceives the world differently than we do. Therefore, when teaching a child, Avoid stereotypes. Based on your child’s inclinations.
After all, the main thing is not the cultivation of talent or genius, but how diverse his inner world will be, whether his creative abilities will be realized.
4. Give your child freedom to choose activities
, in the ways and methods of action, do not interfere with his free expression. Watch your child. What does he like to do most? Sing? Dance? Paint? Sculpt? Copy someone else's facial expressions or behavior? Let your home always have plasticine, paints, old magazines, colored paper, jars and boxes. Then the child’s desire, his interest in creativity and emotional upsurge will serve as a guarantee that this matter will benefit him.
5. Support your child's creative initiative
through the respectful attitude of all family members to his drawings, crafts, and first attempts to compose something. In preschool age, most children are not shy about dancing, singing, and showing their drawings to others. The child’s personality is not yet complex; he feels enough strength and desire to try everything, to participate in different types of creative activities.
6. Nurturing children's creative abilities will be effective only if it is a purposeful process. There is a lot of debate about what and how to teach children, but the fact that it is necessary to teach is beyond doubt. If you select appropriate teaching methods, children, without losing the originality of their creativity, create works of a higher level than their untrained peers. Enroll your child in a children's club or studio, music school or art school
so that he can develop and improve his creative abilities.
7. Be actively involved in the process and create together with your child.
Let the baby burst with ideas; your task is not to interfere, but to help him. Children, unlike adults, have a fresh perspective on things. They can turn any, even the most inconspicuous detail into a magical character. Let your child teach you how to create, and then he will carry his creativity and lack of stereotypes throughout his life. And in the future you will be proud of your talented child.
It is very useful to make toys together with your child; often a doll sewn together with your child will be much more interesting to him than the most beautiful store-bought one. You can also conduct joint games, where parents and children will come up with a plot and characters together, and then portray them. Any homework can be a great help for the game, and any object can turn into a fairy-tale hero.
8. The design of the apartment and its interior also influence the child’s creative abilities. It’s good if there are paintings, decorations, and decorative things hanging on the walls that you can touch with your hands. Decorate your apartment with your baby's drawings
, but do not forget to change them from time to time so that the child has a desire to draw more and more, so that he sees that you appreciate his efforts.
9. Read fairy tales to your child.
The role of fairy tales for the development of a child’s imagination is invaluable. It is a fairy tale that will teach him to find a way out of a hopeless situation, to invent something new, because in a fairy tale everything is possible. From reading a fairy tale, there is only one step to a new hobby - writing your own fairy tales and stories. It will open the path to creativity for your child.
10. Provide your child with a room or a separate corner for games and toys.
Games in childhood occupy most of children's time. A game for a child is not a waste of time, but a source of new information. This is how children learn about the world around them. In games, all cognitive processes are trained and developed, and children's talent develops.
Many parents note that children often use not specially purchased toys for games, but substitute items - various caps and sticks, rags and bottles, leaves and boxes. A child can use any object within reach for his games, and no matter how strange it may sound, The fewer toys he has, the more his imagination develops.
11. Don't be afraid to get dirty or dirty something in the house
(cover the white sofa, move the vases higher). What kind of creative development can we talk about if the baby is constantly in the zone of restrictions: “Don’t touch! Do not run! Do not take!". Do not forbid your child to create and do not punish him for creative experiments! Set certain boundaries for his creativity. For example, you can’t draw on walls, but you can on whatman paper attached to the wall.
12.Never force your opinion on your child!
You can suggest, give an idea, but do not insist on it, this can reduce the child’s initiative.
The main thing in the process of raising a creative personality is to give the child the opportunity to realize his ability to be creative!
In choosing the goal of education, it is necessary to rely on the education of an individual who is able to quickly respond to changes in society, i.e. an individual who is ready to creatively create himself in the interests of society.
The goal of education should be the education of a creative personality capable of making responsible socially and personally significant choices based on moral ideals, self-knowledge, and self-education.
The problem of educating a creative personality is included as an essential component in the Concept of lifelong education and upbringing of children and students in Belarus. It is emphasized that a creative person must be moral.
Therefore, the first task in achieving the stated goal is to educate the system of educational, cognitive and social motives of schoolchildren as the basis of human behavior.
The second task is targeted moral education.
The third task is the formation of the desire for self-education. The solution to this problem must go in two directions. Firstly, developing the need for self-education through “raising the bar” not only of educational tasks, but also of the level of all types of life activities of schoolchildren. Secondly, students need to be taught methods of self-knowledge, self-development, and self-improvement.
The fourth task is to educate psychophysical health.
The solution to these problems should be based on their dialectical relationship, since the system of motives determines the orientation of the individual, psychophysical health ensures the normal course of self-knowledge and self-education, which in turn contribute to the moral improvement of the individual.
In order to solve the assigned tasks and achieve the set goal, it is necessary in the learning process to cultivate in students the ability to think, develop the imagination, the emotional sphere, relying on the individuality of each, stimulating self-knowledge.
The main factor in nurturing a creative personality is to cultivate motivation in students.
Previously, it was believed that the essence of education was the organization of students’ activities and therefore the pedagogical process was built as a combination of various types of activities. This boiled down to the fact that the wider the range of different types of activities, the more effective the education process. But in practice this turned out to be not entirely true. For some students this method was effective, but for others it only caused a negative attitude.
The point is that it was necessary to highlight the motive i.e. for what purpose the activity is performed. S. L. Rubinstein wrote that a teacher who cannot penetrate into the motives of a child’s activity works essentially blindly.
Thus, motive is the basis for the formation of necessary personality qualities. At the same time, the tasks of education should not be reduced to the organization of creative activity, but put at the forefront the education of motivation for creativity.
It is now recognized that all people have varying degrees of creativity. In psychology, numerous attempts are being made to study creative abilities depending on intelligence, memory, intelligence and other personal qualities. They showed that a creative personality is endowed with numerous psychological characteristics that cannot be reduced to any function in order to connect it with memory, attention, intelligence, and erudition. As practice shows, the academic performance of creative individuals is relatively rarely brilliant. Proof of this are examples of great people who did not shine at school.
Researchers Ts. P. Korolenko, G. V. Frolova emphasize the special role of motivation in the implementation of creative activity. However, it is precisely the motivation of the activity of a creative person in the educational process of our secondary school that is given much less attention than it should be.
It should be noted that motivation cannot be taught, it can only be created, stimulated, increased and developed. Therefore, the development of motivation for learning and creativity is entirely determined by the pedagogical skills of the teacher. Education involves the action of the mechanism of shifting the motive to the goal. The student initially has a motive to get a good grade, to stand out, and the teacher needs to turn this into a motive to enjoy learning. Then this mechanism will have the educational result of the birth of a new motive, where getting a mark plays a secondary role.
Achieving the goal of an action involves anticipating it, and finding a way to achieve a goal presupposes the ability to think. Therefore, for the mechanism of shifting the motive to the goal to operate, you need to imagine the goal, comprehend the ways to achieve it, and have a certain emotional tension. So, to cultivate the motives of creativity, it is necessary to use teaching tools aimed at cultivating imagination, thinking, and emotions.
Three such means can be distinguished: the use of synectics theory, brainstorming, and a game.
The application of the theory of synectics involves the use of all types of analogies (direct, symbolic, personal). For example, direct analogies, a technical object and a biological object (an airplane, a bird). It is necessary to use symbolic analogies of association and synesthetic images: see sound, hear color, feel music in motion. In classes, when studying various laws and concepts, the question should be asked: “What color is it?”, “What shape?”, “What does it taste like?” etc. It is also necessary to make personal analogies. In this case, the student must enter into the image of the element being studied, the proposed situation. For example, when studying current sources, students “enter the image” of a battery and, comparing “themselves” with others, must determine “their” advantages.
The application of this theory is aimed at the conscious use of subconscious mental mechanisms operating in the creative process, at creating in students personally significant, meaning-forming motives for learning activities, at giving personal meaning to the objects being studied.
The motivation for creative activity during brainstorming is determined by two factors: a person of average ability can come up with almost twice as many solutions when he works in a group; acceptance of any most incredible proposals, i.e. the student has the right to make a mistake, which removes the emotion of fear of making one and liberates thinking, imagination, and creates a positive emotional mood.
The motives of the game reveal the human need to transform the world. The game develops imagination and thinking, since the participant is in imaginary situations before choosing options for action, and is forced to calculate his own and others’ moves. The experiences that accompany the processes of thinking and imagination in game situations are also significant, i.e. feelings. Therefore, play is an indispensable means of cultivating thinking, imagination, and feelings. An example of a game would be role-playing games such as “Trial of friction”, “Trial of inertia”, where the role of the accused, defense lawyer, prosecutor, witnesses and jury is played by students, and the coordinating role belongs to the teacher.
Experience shows that the use of the above means stimulates active creative activity in the lessons of weak students, because the motive of achievement is realized in them without much didactic effort. For students, these are familiar activities, and not an answer at the board, colored by the emotions of fear. The use of these tools in teaching will not turn children away from learning, will not kill talent, and will not stifle the desire for creativity.
Also very important for the education of a creative personality is the education of students’ thinking.
Thinking is a process of cognitive activity of an individual, characterized by a generalized and mediated reflection of reality.
Today's teaching methods are designed to focus less on memory and more on thinking.
To educate a creative personality, it is necessary to cultivate conceptual, logical and creative thinking. In the thinking of students in learning, researchers (V.F. Palamarchuk, T.I. Shamova, etc.) identify three main components: motivational, content and operational. The motivational component is decisive, since it sets in motion the internal mechanisms of thinking. Therefore, the teacher’s task is to constantly motivate mental activity, making sure that the external motive-stimulus is transformed into an internal, meaning-forming motive. Motivating mental activity should take into account the age-related dynamics of the development of motives. The younger schoolchild develops needs that are important for future life: for mental activity on the internal plane; in theoretical understanding of observed phenomena. In adolescence, the needs for reflection and self-esteem, self-affirmation and self-education are clearly manifested. In youth, there is an urgent need to search for the meaning of life, in a worldview as a system of knowledge that explains the world around us. Revealing the content component, it should be noted that teaching various subjects is necessary because the perception of the subject as a holistic image and ideas about it are different in different academic disciplines. One of the important aspects of the content component of thinking is manifested through the actualization of all types of connections and types of thinking.
In the education of a personality capable of creating not only the external, but also the internal world, ready for successful functioning in society without harm to oneself and others, i.e. creative personality, the primary role is played by the development of thinking, and in many of its types and manifestations.
Each type of connection determines a certain type of thinking. During schooling, it is necessary for the student to develop formal-logical, scientific, practical and imaginative thinking in order to create the basis for categorical thinking in the process of further education.
When considering the operational component, it is necessary for each teacher to identify for himself a range of mental operations in accordance with the content of the subject, individual topics, and purposefully form and improve them, taking into account the age of students and specific educational material.
Currently, the principle of visibility plays a very important role in education and training. It is believed that the more it is implemented, the more effective the learning process is. In fact, they are perceived by students as a fun activity and do not contribute to the comprehension of educational content.
When assessing the role of visibility, it is necessary to take into account the age characteristics of students. For younger schoolchildren, the role of visual material is determined by the prevalence of sensory perception. In adolescence, the role of clarity decreases as the student is focused on comprehending mental operations, developing techniques for independently acquiring knowledge, and studying the laws and rules of thinking. At high school age, the weight of abstract theoretical thinking increases more and more.
The leading role of speech and words in the education of thinking lies in the fact that thoughts are not only formulated, but also formed in words.
So, to cultivate a creative personality, students’ thinking should be purposefully cultivated. The basis of creative thinking is formal-logical, which is characterized by creative principles. To cultivate this thinking, it is necessary to study subjects in all areas of knowledge, purposefully stimulate all types of thinking within the framework of studying one subject, taking into account the age-related dynamics of the motives of students’ activities, the role of clarity and speech in learning.
At the present time, without a developed imagination, a productive process of nurturing a creative personality is impossible for a student.
Imagination is a mental process expressed in the construction of an image of the means and the final result of the subject’s objective activity, in the creation of images that correspond to the description of the object. The most important task of imagination is that it allows you to imagine the result of work before it begins, thereby orienting a person in the process of activity.
The construction of images in pedagogical practice occurs during the education of perception, representation, and memory. At the same time, little attention is paid to the reconstructive imagination, i.e. constructing images of objects that were not previously perceived, in accordance with their description or image.
Today, pedagogical practice and theory do not highlight the education of imagination as a special pedagogical task.
Imagination is included in any labor process and is a necessary side of any creative activity - artistic, design, scientific.
In the process of activity, imagination appears in unity with thinking. If the initial data are known, then the course of solving the problem is subject primarily to the laws of thinking, but if these data are difficult to analyze, then the mechanisms of imagination operate. The value of imagination is that it allows you to make a decision in the absence of the proper completeness of knowledge necessary to complete the task.
Imagination becomes vitally important when a person is faced with the need to comprehend the most complex aspects of reality, which are so multifaceted that it is simply impossible to identify their essence on the basis of thinking.
Without a developed imagination, there is not only no discovery, but also a broad view of things, no active perception of reality, no harmoniously developed personality.
Thus, imagination plays an important role in the creative process, often being a necessary means of solving a problem.
Many people have the ability to create mental pictures not only of objects they have seen, but also of objects they have never seen. Thus, some people may listen to music “mentally,” thinking about the musical composition, or looking at sheet music and constructing a melody in their imagination. Others are able to imagine muscle movements or relive smells they have encountered previously. Sometimes it is difficult for a person who has a strong capacity for some kind of imagination to imagine that others cannot do it. It is often believed that people with a developed one type of imagination are deprived of another type. However, this is not so: many people have a good development of various types of imagination - visual, auditory, olfactory, gustatory, etc. .
The creative potential of the imagination is determined by the ability to transfer (generalize) actions (activities) from one material to another, from one relationship to another. Each person's ability to imagine is very personal and unique. Thus, creative imagination, on the one hand, is characterized by individual unique originality, and on the other hand, manifestation in all spheres of human activity.
To cultivate the imagination in a secondary school, it is necessary to highlight the special role of artistic, scientific and inventive or technical creativity, as well as sports, which develops the imagination in the process of imagining the result of martial arts. The noted types of creativity are realized in activities in which the following types can be distinguished: self-education, artistic and technical creativity, socially useful work.
Self-education is the purposeful active activity of an individual to develop new qualities.
Artistic and technical creativity includes the production of decorative and applied arts, participation in amateur performances, literary writing, technical design and modeling. All these activities are united by the fact that they are aimed at creating cultural values, the consumer of which is the creator himself.
Socially useful work, which is the most valuable activity in terms of impact on the individual. It stimulates participation in artistic and technical creativity, self-education, and promotes active consumption of cultural values.
To summarize what has been said about the role of imagination in various types of creativity, we can say that in order for students to be harmoniously developed individuals, it is necessary to cultivate their creative imagination as a necessary element of creativity.
But the pedagogical aspects of nurturing creative imagination in theory and practice have not been sufficiently developed, with the exception of specialized schools or art education classes. This is explained by the fact that in educational psychology little attention is paid to the cultivation of creative imagination.
L. S. Vygodsky identifies four forms of connection between imagination and reality. The first form of connection is determined by the fact that the material of imagination is taken from the direct reflection of real objects of the external world, and new images can be created on the basis of this material.
The second form of connection between imagination and reality is that our imagination can operate with images that have never existed in the subject’s own experience, but are drawn from the experience of others.
L. S. Vygodsky calls the third form of communication emotional and considers it in two manifestations. The first is that the images that appear in our minds under the influence of reality are determined by our emotional state. It follows that for a positive emotional perception of the products of imagination that the teacher is trying to awaken in students during the lesson, it is necessary that throughout this time the students are in a favorable emotional state, i.e. The emotional state of a student in the educational process must be purposefully controlled. Another manifestation is feedback, where imagination influences feeling. The perception of works of art arouses sublime feelings in us, therefore their role in the learning process is very great, since it educates the feelings themselves, creates a positive emotional background for the perception of objects, studying and creating their positive images. For this purpose, it is useful to use slide shows of works of fine art accompanied by classical music during lesson breaks. This liberates the conscious and subconscious.
The fourth form of connection between imagination and reality is that by combining images of reality, imagination is embodied in a real object, which itself changes the surrounding reality. Here the effectiveness of imagination is manifested, which is the basis of the driving force of creativity. The implementation of this form of communication is the most effective way to educate a creative personality, since it is this that has the greatest personal significance for students.
Also an important condition for the development of creative potential is personal freedom. Having the freedom to choose and change types of activities, a person gets the opportunity to interact with objects of the external world in a variety of ways, which entails the creation of many different images and their combinations in the mind. Thus, imagination consists not only in the creation of images, but also in their selection and combination, i.e. imagination contributes to the education of a creative personality capable of making a choice of goals, methods and means of their activities.
So, imagination in creativity plays both a subordinate role, supplying material for thinking, and an independent one, helping a person solve problems when this is impossible in a mental, logical way. In pedagogical terms, it is necessary, in the process of cultivating the imagination, to maximally develop and use the ability to construct images in our minds. In a comprehensive school it is necessary to cultivate scientific, artistic and technical creativity.
In the activity of both thinking and imagination, the emotional sphere of the human psyche plays a huge role. L. S. Vygodsky pointed out the connection between imagination and emotion. Emotions play an important role in motivating creative activity. They represent a mechanism for transforming external stimuli into motives that guide cognition and transformation of the surrounding reality. It follows from this that in order to educate a person capable of creating not only the external, but also his own inner world, it is necessary to purposefully cultivate the ability to feel, experience, manage emotions and direct them to the benefit of oneself and others.
Nurturing a creative personality also presupposes the presence of pedagogical creativity. V. S. Reshetko identifies the main features of pedagogical creativity:
Mastery of scientific analysis and synthesis techniques;
Ability to implement science into practice;
Vision for fundamental implementation;
Ability to develop scientific and practical methods (tools) for implementation;
The ability to see ideas in the experience of other teachers that help them move to the heights of professionalism;
Ability to use the experience of other teachers;
Going beyond the boundaries of the formed knowledge system (considering phenomena from new angles, the ability to restore connections between phenomena, the ability to see common features of individual facts);
The ability to resist pedagogical conservatism, overcome harmful stereotypes in education;
The ability to transfer knowledge to various pedagogical conditions and situations. M. S. Abazovik also said on this subject: “When speaking in this regard about the skill of teachers, the most talented should probably be considered not those teachers who have some special methodology, but those who know how to induce in students a feeling of satisfaction from mental work , without which there is no talent..."
Therefore, the task of organizing methodological work on the problem of working with gifted students becomes relevant for educational institutions. It is advisable to include issues of organizing work on developing the creative potential of students in the work of methodological associations, workshops, and pedagogical councils.
This means that in order to educate a creative personality, it is necessary to create special conditions that would contribute to its full development. To do this, it is necessary to use methods and techniques in teaching practice that motivate students to be creative and develop their thinking, imagination, and emotions.
FGOU SPO"Omsk College of Professional Technologies
Belousova E.Yu.
Toolkit
"Education through creativity"
(summarizing and relaying work experience
Cultural and leisure center)
Reviewers: Omshina L.N., Deputy Director for Water Resources, Federal State Educational Institution of Secondary Professional Education
"Omsk College of Professional Technologies"
Omsk-2011
Introduction.
Creation. Driving forces of creativity.
Psychological characteristics of a creative personality.
Education for creativity through classes in the studios of the cultural and leisure center.
The role and place of additional education in the educational environment.
Structure and activities of the Cultural and Leisure Center
Competencies of a teacher of additional education
Regulatory documents and subprogram for the development of CDC
Review of the main approaches to working with students at the CDC
Monitoring of CDC activities
Conclusion.
Bibliographic list.
Introduction.
The issue of creativity is important and relevant for many reasons, primarily because creativity is a wide-ranging topic. Understanding the mechanisms of development of both man and society depends on its study. In light of this importance, it becomes increasingly clear that the problem of creativity has not yet been well studied. The discussion of creativity raises two issues. The first is the problem of sources of creativity. The second is the problem of mechanisms: under what conditions does creativity take place, what is the process of the creative act, how does a person create something new, how does something new that did not exist before appear?
There is an attempt to contrast pedagogical tasks with professional ones, educational functions with creativity. This formulation of the question indicates a lack of understanding of the main thing in creative activity, which reveals the extraordinary possibilities of educating a person through the means of art.
This education differs from any other forms of education in that the ideological, moral enrichment of a person occurs simultaneously with the enrichment of his aesthetic horizons, with the revelation of his creative potential, with the formation of an artist in him. Of course, to some extent, the function of aesthetic education is performed by professional art. And on this path of acquaintance with art, museums, theaters, and lecture halls acquire great importance. But there is another, more effective way of aesthetic education - the path of familiarization with creativity.
On this path, knowledge, mastery of culture, and the formation of personality are in close connection with the disclosure of this personality. But this can only happen in cases where a person is involved in the process of true creativity. He is not a contemplator, but a creator.
A person is educated by creating art. And if the results of his work are low in their artistic qualities, aesthetic damage has been caused to the cause of aesthetic education. In order to achieve a certain aesthetic level, it is necessary to form an artist out of a person who is not involved in art, revealing his ability to be an artist.
The level of the creative process, the level of artistry are an important factor in aesthetic education and, conversely, the activity of the educational process and its direction should ensure the artistic level of the result.
It is possible to educate a creative personality only through the process of genuine creativity and active social action, which does not tolerate compromise.
Modern sociology and pedagogy prioritize the influence of the team on the individual, respect and understanding of each individual. Don’t miss a single person in your work, and if he comes to the creative team, be sure to find him a job in which he would feel necessary. And another important factor is the problem of employment. In ordinary life, a person does not use all the capabilities of his body. Often, physical and spiritual development in adolescents is in a state of sleep, when habitual duties are performed with minimal energy expenditure, which in turn gives rise to spiritual laziness and limited interests.
Our task is to change the rhythm of life. Make a person understand that you can live differently, you can live life many times brighter in every unit of time, accomplish more, learn more.
Creation. Driving forces of creativity.
Creativity is the process of creating something new, the antipode of stereotyped activity.
In philosophical teachings, creativity appears as a condition and mechanism of productive development. In creativity, material and spiritual processes, productive and reproductive, logical and intuitive, find a dialectical interpenetration. Creativity embraces cognitive and practically transformative activity as a holistic process and its individual moments - creative search, discovery and its material embodiment.
Creativity in the aspect of psychology is a product of mental activity. In the psychological literature there are two points of view on this matter. According to the first, it is necessary to develop reproductive and creative thinking. The process approach defines creative activity as activity aimed at solving creative problems.
The personal approach in the interpretation of creativity pays great attention to the study of the role of motivational and emotional moments in the thinking of their productive function; creative activity is considered from the perspective of its uniqueness and individuality. Rubinshtein S.L. defined the manifestation of creative activity as an expression of the activity of the subject.
The question arises: can creativity be taught?
“Creativity” (creativity) is not some special characteristic of cognitive processes, it is one of the deep characteristics of a person.
Personality cannot be formed, it can be educated.
Creativity is the prerogative of a free personality capable of self-development.
The uniqueness and originality of the individual, the leading role of the unconscious in creative acts cannot be revealed using only concepts derived from activity.
But interpreting the creative act only as activity leaves out the most essential thing - the sources of creativity that lie in the area of the unconscious.
But the very definition of creativity as the creation of something fundamentally new as an individual contribution to culture presupposes the predominant determination of this process on the part of the subject.
This is an indicator of a person’s personal maturity, which is characterized by the following features: active self-development, compliance of life choices (including profession) with individual characteristics, coordination of the chosen profession and abilities, the desire to know oneself, the ability to value and use time efficiently and effectively, to highlight priorities in activities.
Activity, revealing a person’s creative activity, expands the horizon of his personality, demonstrates the level of development of his consciousness, and becomes a certain value for him.
The artist cannot fail to realize the potential inherent in himself and, transferring it from the internal to the external plane, he becomes what nature intended him to be.
And here we must make a reservation regarding social conditions. Talent blossoms in society at a certain stage of its historical development. And the state of society, its cultural traditions and attitude to world culture will influence the creativity of a given person.
Schumann was deeply right when he dropped the idea that if a talent like Mozart had been born in his time, then most likely he would have written music in the spirit of Chopin.
In his creativity, a person expresses not only his own moods and thoughts in the norms of the artistic language that he has found. Whether he wants it or not, he also expresses the worldview of the people of the era in which he lives and works.
Probably the main distinguishing feature of a creative person is the uncontrollable desire to pour his experiences and impressions into music, singing, dancing..., to express his being in the language of art.
But all these abilities will not be able to fully manifest themselves if the individual does not have such qualities as hard work, patience and the desire for creativity. The motivation for creativity lies not in the external conditions of well-being, but in the internal motivations for creativity. Often it was creativity that turned out to be for many the force that helped them live in the most unfavorable conditions.
Nature, unfortunately, allows a person very little time in childhood so that he can lay the foundation for the development of his future abilities. Therefore, a capable child is forced to begin his education at an early age, during that period of development when the body and worldview of a teenager are formed.
So, the creative process is a human activity aimed at creating some new, original product in the field of ideas, art, as well as production and organization. The novelty that arises as a result of creative activity can be both objective and subjective in nature.
Objective value is recognized for such creative products in which hitherto unknown patterns are revealed, connections between phenomena that were considered unrelated are established and declared, works of art are created that have no analogues in the history of culture.
The subjective value of creative products occurs when the creative product is not new in itself objectively, but is new for the person who first created it. These are, for the most part, the products of children's and adolescent creativity.
The importance of teenage subjective creativity should be taken into account in the sense that it is one of the indicators of the growth of the creative capabilities of the person who received this result.
Creative activity is always associated with personal growth, and this is where the subjective value of the products of teenage creativity lies.
In artistic creativity (art), discovery is the creation of vivid images that amaze the viewer with the depth of generalization and comprehension of what is depicted.
Creative development and skills.
Thanks to continuously improving teaching methods, it is possible to observe an increase in results, this is clearly manifested in sports, music, dance, etc. From this we can conclude that the manifestation of a person’s ability to perform any activity depends not only on his talent, but also on the mastery of methods by his teachers that lead to high results.
Often, the lack of knowledge, skills and abilities is perceived even by professionals as a lack of the necessary abilities.
The priority of creative tasks is a necessary condition for the manifestation and development of artistic talent of adolescents in the learning process. Skills are absolutely necessary as a means of developing a child's creativity. But when they are mastered independently of any creative tasks, in fact, as an end in itself, and not as a means, they can stifle the sprouts of talent.
Sometimes a teacher sees his task as transferring to the student a certain amount of special skills and abilities, which he can then use for creative work. In fact, the sequence should be just the opposite. It is necessary that he is faced with a specific creative task, but to solve it he will need certain knowledge and skills that he lacks.
This is where the help of a teacher is needed, who equips the student with techniques and ways to achieve an attractive goal.
There are many known cases (especially in musical practice) when a child stubbornly rejected all attempts to learn even the simplest skills. And the same child quickly, independently and imperceptibly mastered real mastery when he became involved in musical creativity.
So, a child’s artistic development proceeds normally when he masters the “technology” of art not as an end in itself, but in connection with the solution of specific artistic problems. Then the acquired skill becomes not an extra burden on your shoulders, but a flexible tool in your hands, a means of realizing your own plans. But, of course, declaring the priority of a creative task over a technical one is much easier than implementing this approach in everyday teaching practice. Nevertheless, this task is solvable. It is solved consciously or intuitively by every successful teacher.
Psychological characteristics of a creative personality.
"Adolescence (adolescence) is a period of ontogenesis corresponding to the beginning of the transition from childhood to adolescence. This stage is characterized by rapid human growth, the formation of the body in the process of puberty, which has a noticeable impact on the psychophysiological characteristics of the teenager. The basis for the formation of new psychological and personal qualities of adolescents is communication in the process of various types of activities they carry out (educational, industrial activities, various types of creativity, sports, etc.). The defining feature of adolescents’ communication is its pronounced nature.”
(Psychology: Dictionary. M., 1990.- p. 279)
“Adolescence is the age of intensive formation of moral concepts, ideas, beliefs, and moral principles that adolescents begin to guide their behavior and which are formed under the influence of the surrounding reality...”
(Psychological Dictionary. M., 1983.- p. 262)
From a psychological and pedagogical point of view, adolescence is defined as the age of communication. Sometimes this situation is viewed simplistically, considering that communication with peers, focusing on their opinions and assessments, blocking into groups and cliques obscure other aspects of academic and extracurricular life from adolescents.
This interpretation is one-sided. The tendency to communicate with peers among students of this age is really pronounced. But with intelligently structured educational work, it acts as a form in which (or along with it) other trends in the life of adolescents naturally appear.
"When determining the leading activity in adolescence, psychologists had a number of disagreements. Thus, D.B. Elkonin and T.V. Dragunova, having analyzed a large amount of factual material related to the life of adolescents, came to the conclusion that the leading activity of adolescents in this age stage is personal communication between peers. It acts as a special practice of actions of adolescents in a team, aimed at self-affirmation in this group, at the implementation of the norms of adult relationships in it. The central psychological new formation of this age, according to these authors, is the feeling of adulthood that arises in adolescents as a form of manifestation of self-awareness, allowing them to compare and identify themselves with adults and comrades, find role models, and build their relationships with people based on these models...
However, these authors considered the process of communication between adolescents in isolation from the whole variety of collective activities that they have been carrying out for several years - in isolation from their educational, production and labor, social-organizational, artistic, and sports activities. In fact, it is these types of activities that become most important in the development of communication in adolescents. They have increased attention to their successes and achievements in the process of activity, which receive one or another public assessment. Realizing the social significance of their own participation in these types of activities, adolescents enter into new relationships with each other, since each such activity is performed collectively, and its results are truly assessed again in the team (whether in educational, labor, sports, music, or whatever -or friend).
Thanks to this, the personal communication of adolescents receives its diverse expression precisely when they perform various types of socially useful activities, which, in our opinion, is the leading activity in adolescence.”
Faced with the diversity of functions and roles of team members, the teenager discovers the world of social relations of children, and through them - the uniqueness of the norms that regulate the mental life of children.
We highlight the following psychological qualities of a teenager’s personality:
the tendency to establish psychological commonality in goals, attitudes, feelings, and assessments with peers;
the desire to differentiate the mental life of team members, to identify socially significant personality traits of its participants (the formation of subjective ideas about “prestige”, “competence”, “behavior in a team”);
special interest in the external forms of expression of spiritual life presented in the team (intonations, words, forms of expression of emotions that are significant in a given environment, facial expressions and pantomime);
the desire for self-affirmation in the forms of life of a given collective (not only in external behavior, but also in psychological manifestations - “actors” on the social stage of the collective’s life. The effect of “publicity”, “demonstrability” is very significant for them).
Assessment and self-esteem are the dominant link, a kind of core of the mental life of a teenager. Overestimation and self-esteem explains the reasons for the inconsistency in the character and assessments of students of this age.
The teacher needs to be extremely sensitive to these contradictions of the teenager, so that the “inflated” structure of his mental life would naturally be melted into “inflated” educational and creative activity, would become the activity of learning.
No ability can replace skill, which is the main tool in the creation and execution (display) of a work of art (the final result).
However, professional skills and abilities in themselves do not yet determine the value of the results of creative activity. The essence of creativity lies not in the accumulation of knowledge and skill, although this is very important for creativity, but in a person’s ability to discover new ideas, new ways of developing thoughts, and draw original conclusions.
Psychologists have long noticed that people with a creative mindset, no matter what field they work in, have many common traits, the totality of which makes them significantly different from people who are less creative. The traits of a creative personality, according to the American psychologist K. Taylor, are: the desire to always be at the forefront in their field; independence and independence of judgment, the desire to go your own way; risk appetite; activity, curiosity, tirelessness in search; hence the desire to change the existing state of affairs; non-standard thinking; gift of communication.
Other researchers distinguish such traits of a creative personality as a wealth of imagination and intuition; the ability to go beyond ordinary ideas and see objects from an unusual angle. They feel well the need for social development and understand well the feelings of other people.
Such traits of a creative personality make her not very good at getting along with other people. With their independence, autonomy, and originality, creative people bring a lot of trouble to the teams in which they work and to those who are forced to communicate with them.
The relationship between the amount of available knowledge, mental abilities and creativity is very complex and ambiguous. A high level of mental abilities, as noted by Polish researcher A. Matejko, is necessary for creativity in some areas and is not at all needed in others. Here, achievements in one area may not coincide with achievements in another. It is known that Beethoven had difficulties mastering the multiplication tables.
Academic success and grades obtained in higher and secondary educational institutions are not always reliable indicators of the manifestation of a creative personality.
What helps creativity?
Inspiration is a leap over one's head, when the creator does something that is not given to him, it would seem by nature. And even many ordinary people have such a state when they say that a person is “in shock.” What could contribute to this?
Strong emotional experiences. It does not matter whether it is positive or negative.
When the desire for self-expression becomes especially strong, when a person is overwhelmed with strong feelings, then a penchant for music or other forms of art turns out to be the leading means of expressing a person’s spiritual life.
Life is a continuous process of creativity, the need for which grows as the complexity of the environment grows and a person’s inability to adapt to existing living conditions. The essence of creativity is not in the formal accumulation of knowledge, skills, and abilities, but in using them as a means to discover new paths, patterns and methods of action leading to obtaining results previously unknown.
Nurturing creativity through additional education classes in the studios of the cultural and leisure center.
The role and place of additional education in educational environment.
In this economic situation, high demands are placed on a person offering his abilities on the labor market: to be knowledgeable, to be able to use this knowledge in practice, to be able to find the necessary information, analyze it, systematize it, rationally use it, to be able to quickly and efficiently fill gaps in your knowledge. A modern person must have the skills of self-education throughout the entire creative stage of life. In such social conditions, serious demands are placed on the organization of the educational process in the system of additional education for adolescents, the need to study, develop and introduce new forms, methods, and technologies into the practice of pedagogical activities. Based on practical analysis, it can be stated that in normal educational conditions, the full implementation of innovations that are currently being actively promoted is somewhat difficult due to the presence of objective reasons. This is, first of all:
strict educational standards;
time limited by programs;
teacher-leader status;
Large class sizes (from 25 people).
predominance of specialized training;
variability of programs;
the basis of pedagogical activity is the pedagogy of cooperation;
small groups of students (up to 15 people);
voluntariness of the child’s choice of field of activity;
the principle of child-centrism.
The above conclusions in no way show the advantages of additional education over regular education. Over the long period of its development, the traditional school has shown not only its consistency, but also the great advantages of its educational system - to give teenagers basic knowledge, skills and abilities. The system of additional education is considered as auxiliary, providing an opportunity to ensure the development of a teenager’s personality not in opposition to, but in support of, basic education.
Structure and activities of the Cultural and Leisure Center
For this purpose, in 1999, a cultural and leisure center was created on the basis of our college.
Work at the center is structured in such a way that additional education is available to everyone. Each student has the freedom to choose an association, direction, teacher, type of activity and forms of participation. An individual approach is also provided, which allows us to teach children with different abilities.
The goals and objectives of the CDC meet the requirements of today and highlight priorities: student development, morality, spiritual health, creativity, openness, freedom of choice for each student, and also shapes views, interests and hobbies for the long term.
The activities of the CDC are coordinated by a teacher-organizer in the field of additional education. Subordinate to him are teachers of additional education in various types of arts.
Each of them heads the studio in their own area of activity:
Vocal studio "Musical Constellation"
STEM "Here you go!"
Folk song ensemble "Perezvon"
Choreographic studio "Movement"
Folk dance studio "Bereginya"
KVN team "Aeropimples"
Gymnastics studio "Grace"
Theater judge "Mirror"
Acrobatics theater
TV and radio studio "Oko"
Each studio works according to its own educational program, which is a structured system of training for studio participants, in accordance with the subprogram of the CDC and the chosen direction of art.
Classes in the studios of the Cultural and Leisure Center develop the following specialized skills in students:
Ability to organize and plan;
ability to solve problems and make decisions;
ability to work in a team;
ability to perceive diversity and intercultural differences; ability to self-learn;
ability to adapt to new situations;
leadership ability and will to succeed.
In this regard, differentiated requirements have been introduced into the programs.
It is pedagogically advisable for each level to develop its own system of requirements. However, the strategy remains unchanged: when teaching students of all levels, the goal is to develop their personal potential.
At the third level, one should pay special attention to its technical development, as well as increase the requirements for performing qualities, artistry, and cultivate a love for the stage and for concert performances.
Second level students require increased attention to those abilities that are least developed. In this regard, some adjustments may be made to the standard program. Also, second level students should be involved in concert activities. The educational orientation of the performances not only benefits their creative development, but also has an educational effect, forming such qualities as will, sociability, selflessness and spiritual openness.
To cultivate a sense of beauty, introduce the child to the world of beauty and awaken the child’s need to communicate with works of art of all genres - a teacher of additional education should focus his attention on this.
Classes with first-level students pose especially difficult tasks for the teacher. The main difficulty is to achieve the maximum developmental effect when working on material that is feasible for the student. The program being taught must be adapted.
The introduction of the aforementioned differentiated approach to students in studios into pedagogical practice is associated with ethical difficulties. It was therefore advisable to define some requirements.
Since abilities are developed only through activity, it would be a mistake to rank the student at the beginning of his education. Its level can only be determined by the end of the first year of study. Assigning a student to a certain level is not a sentence, but only the creation of more comfortable conditions for the realization of his current capabilities. A properly oriented pedagogical process will enhance the development of his abilities, and he will move to a higher level. However, this should not be the goal, but the desired consequence of well-delivered training.
The division into levels is an internal matter of the teacher. We must not forget that children are sensitive to various kinds of adapted groups and programs. The desire to “catch up” with students at the next level can create an atmosphere that is not conducive to truly artistic work aimed at developing the creative qualities of the individual.
Therefore, when developing additional education programs, teachers try to take into account the student’s modern interests and try to combine “business with pleasure” in organizing the educational process. The programs do not show the traditional emphasis on the student acquiring knowledge, skills and abilities in the chosen type of activity, but an integrated approach to organizing classes that contributes to the development of both the student’s knowledge and personal qualities.
The fundamental types of activity are determined, first of all, by the student’s free choice of types and areas of activity, orientation towards the student’s personal interests, needs, abilities, the possibility of free self-determination with subsequent self-realization, and the practical and activity-based basis of the educational process.
Competencies of a teacher of additional education
Creative self-realization carried out by a teacher in the system of additional education makes his pedagogical focus on achieving the goals of creative education of students relevant. This requires the implementation of a system of factors that activate the internal processes of creative self-realization of teachers: professional integration and high motivation of teaching activities, taking into account the individual typological and age-gender characteristics of teachers and their reference as professionals with the ability for their own self-development, mastering the technology and methodology of self-education. To achieve this, teachers take an active part in various college events along with their students. Listening and seeing the teacher’s performance, the student sees what result he needs to strive for in his creative activity. Every student feels a sense of pride and respect for the teacher when they see him on the concert stage.
Since the pedagogical process is a two-way phenomenon, the creative component is included in the activity of not only the student, but first of all the teacher. A lesson that always sets itself certain pedagogical tasks, planned in advance, must be an act of creativity. The teacher must master the art of improvisation; it is designed to create an atmosphere of joint search and co-creation, helping the student to experience the joy of discovery.
A personal approach becomes a basic value in the classes of many of our teachers, i.e. a set of interconnected social attitudes towards the teacher’s attitude towards the pupil, towards himself and towards the organization of pedagogical interaction, which corresponds to the technology of personality-oriented education (G.K. Selevko). This is expressed in taking into account and recognizing the originality, uniqueness of the personality of each child, in accepting his opinion and position; in readiness for a non-judgmental attitude towards him as an individual; in communication based on equality and equivalence of personal positions of teachers and schoolchildren; in cooperation and co-management of all participants in the pedagogical process.
We understand the professional culture of a teacher of additional education for children as an essential characteristic of a teacher’s personality, which represents a dynamic system of value orientations (personal and professional characteristics) implemented by him, a system of professional knowledge and skills (psychological-pedagogical, subject, professional skills), professional activities and professional behavior.
Studying and disseminating the work experience of our additional education teachers is an attempt to prove the possibility of using new teaching technologies, the use of which in school is difficult for objective reasons. This is our path to solving the main task set by the state - lifelong education, i.e. interaction between general and additional education institutions.
Regulatory documents and subprogram for the development of CDC
In its work, the CDC relies on the following regulatory documents:
Interdepartmental program for the development of the system of additional education for children until 2010.
Requirements for the content and design of educational programs for additional education of children
Regulations on the work of the CDC
CDC Development Subprogram
Additional education studio programs
Job descriptions of PDO
The work of the CDC is based on the subprogram “Development of the student’s creative personality through the system of creative associations of the cultural and leisure center.” The implementation period for the subprogram for the development of a cultural and leisure center is calculated for the duration of the student’s studies at the college. For 4 years, each participant in the program can try himself in different social roles - performer, observer, organizer, generator of ideas, which contributes to the socialization of the student.
The subprogram for the development of the student’s creative personality through the system of creative associations of the cultural and leisure center was developed in accordance with the concept and program for the development of education in Omgkpt, the interdepartmental program for the development of the system of additional education for children.
Additional education is actively developing in institutions of primary and secondary vocational education, which makes it possible to objectively combine education, training and creative development of the individual in a single process.
Additional education in college provides students with the opportunity to study in the studios of the cultural and leisure center in accordance with their desires, interests, and potential abilities.
The need to develop a person’s creative abilities and their importance for the formation of a full-fledged personality capable of self-determination and self-development today is difficult to deny. Some Soviet psychologists consider creativity (the ability to create) one of the essential characteristics of a person. So V.V. Davydov writes: “The personal element in an individual’s activity is characterized by the presence of creative motives in it.” In other words, it is the creative principle that distinguishes and distinguishes a person, gives her the opportunity to develop her own independent idea of the surrounding reality and transform this reality on the basis of these ideas.
There is one common misconception: most adults, including teachers, are sure that the ability to be creative is an innate quality, it either exists on its own, or it does not and will not exist. Another thing is intelligence, it can and should be developed. Meanwhile, research by psychologists shows that everything is exactly the opposite. This intelligence is an innate quality, depends on genes, possibly on the characteristics of intrauterine development, but can hardly be corrected. A person shows a certain level of intellectual quotient in childhood - he will have approximately the same indicator both in youth and in adulthood, almost regardless of the level of education received and type of activity.
But creativity, on the contrary, depends on the conditions in which a person is formed. A child grows up passive and uncreative not because he was born that way, but because in childhood he received little heuristic, i.e. material that promotes the development of cognitive abilities. But this coin also has a bright side: if creativity is so dependent on external conditions, it means that by changing these conditions, it can be developed and almost all children can be raised creative. Not talents and geniuses - this is really from God, but simply creative people who know how to find an unconventional move, see a situation in a new light, and finally, simply enjoy creativity, whether they embroider, play music, write a business plan or prepare for lesson.
To develop creativity you need:
Lack of regulation of subject activity, or more precisely, lack of a model of regulated behavior;
The presence of a positive example of creative behavior;
Creating conditions for imitation of creative behavior and blocking manifestations of aggressive and destructive behavior;
Social reinforcement of creative behavior.
Creativity as an important element in raising a child.
I see my ideal in the fact that literally every child sees beauty, stops in amazement in front of it, and makes beauty a part of his soul...”
V.A. Sukhomlinsky
A creative teacher is in constant search for ways and means to solve the problems of aesthetic and labor education. The inclination towards aesthetic education in children manifests itself quite early. And it is important to introduce your child to creativity in time. One of the effective means is the art of floristry. Plants and flowers and artistic compositions created from them evoke admiration and joyful emotions in children, and the desire to create beauty from natural materials themselves. Working with natural materials, children gain a kind of second sight: in every flower and blade of grass they learn to see unique beauty and image.
It is difficult to overestimate the importance of introducing children and adolescents to creativity for their aesthetic and environmental education. Floristry classes cultivate artistic taste, a sense of love and genuine respect for the surrounding nature, give rise to a desire to protect and preserve it, and in the future will fill your free time with interesting creative work.Working in collaboration with the great and kind artist, Nature, is a great happiness!
The ability to understand and feel beauty is not only a certain criterion for a child’s development, it acts as a stimulus for the development of his own creative abilities.
Lessons in decorative and applied arts allow you to successfully solve didactic tasks in developing children's independence and creative initiative. One of the effective means of education, in which the formation of work skills and artistic development of students are closely intertwined, can be classes in creating paintings and crafts from natural materials, using dry tree leaves, herbs, mosses, flowers, various twigs, roots, seeds and fruits of plants , pieces of tree bark. Floristry is a type of art that is little known and rarely practiced in schools or creativity centers.
Working with natural materials is quite accessible to students, since they do not need to look for it somewhere. The various shapes of leaves, flowers, roots, and twigs of plants often directly suggest interesting subjects. It could be a landscape, still life, or a fairy-tale composition.By fantasizing, imagining, and combining natural materials, you can create an amazing world with your own hands!
In winter, when it’s cloudy and cold outside, it’s nice to please friends and family with compositions of plants that contain the warmth, aroma and color of summer. But for this, in the summer and early autumn you need to take care of the source material, collect and preserve flowers, herbs, leaves, cones, seeds, twigs and much more.
In one of the sections of my work program for DPI, several lessons are devoted to working with natural materials. It provides for the study of the correct collection of natural material and the types of its preparation (drying) for use in applications, and the construction of compositions from flowers and leaves.
Here the children bring with them dried autumn leaves, flowers, blades of grass and try to compose, for example, some animal, choosing details based on the shape of the leaves (a birch leaf looks like a chicken’s head). The purpose of such a lesson is to purposefully observe nature for children, to help them see and appreciate the originality and beauty of autumn, its unusualness: crumbling trees, ground covered with leaves, etc.
Comparing the leaves of willow or ash with the leaves of birch or lilac, children can notice the difference between them: some leaves are narrow and elongated, while others are wide and have pointed ends. Some leaves have smooth edges, others have serrated edges. Their color also varies. Working with the gifts of nature, the child not only learns the signs of autumn in nature, the beauty of the forms and colors of plants, but also thereby prepares himself to perceive the world around him. And this stage is preparatory in the process of further training.
In the future, more complex exercises are carried out. They get acquainted with the spraying method, where the children put a leaf of a tree on a white album sheet, and then use a sponge or brush to spray it. The children really like the result and they get pleasure from this work.
You can also work on identifying shapes using a stencil. When one side of a sheet is covered with gouache or watercolor and printed on paper.
All these exercises allow you to most effectively develop both the creative abilities of children and develop observation skills and the ability to analyze forms.
It is not uncommon for children's hobbies to become a profession. But even if in the future students do not become professional craftsmen and artists, the skills acquired in the classes will help them in any direction. It’s not for nothing that many adults return to their childhood hobbies.
The pedagogical value of knowledge of folk and decorative arts is explained by the following important reasons:works of these types of art allow students to develop a certain culture of perception of material, contribute to the formation of an aesthetic attitude to reality, and help to gain a deeper understanding of the artistic and expressive means of other types of fine art.
Creative work ultimately contributes to the development of students’ individual abilities and arouses in them the desire to acquire knowledge beyond the compulsory programs.
At every lesson, the teacher meets with his students and sometimes the children are restless, distracted, and inattentive. How to interest and captivate children? How to prepare classes so that, despite their methodological and educational orientation, they are interesting?
When planning a lesson, the teacher takes into account the general level of preparation and abilities of the children, the availability of materials and tools. For floristry lessons, I recommend following the following plan:
1. Choose the topic of the lesson and have a conversation with the children.
2. Conduct a short excursion through parks, squares, and forests in order to familiarize yourself with natural materials.
3. Collection of various natural materials.
4. Drying natural material with children (using an iron, or putting leaves in a book.
5. Analysis of the shape of the object of labor chosen for decoration.
6. Display and discussion of plots, motives for applications.
7. Drawing up a work plan.
8. Independent work of students:
A) drawing up a sketch of the composition;
B) selection of colors;
C) cutting the necessary shapes;
D) gluing;
D) discussion of finished works. Summarizing.
Lesson structure.
Stage I - communication and goal setting: what children should learn in this lesson, what new things to learn, what to consolidate.
Stage II - preparation for the lesson. It includes analysis of a sample, comparison, comparison, demonstration of work methods, staging a simple experiment, and drawing up a plan for the upcoming work.
Stage III - execution of labor actions (independent work of students).
Stage IV - checking the correctness of the work performed.
Stage V - summing up the lesson: what we learned, what new things we learned.
Federal state requirements for the minimum content, structure and conditions for the implementation of the additional pre-professional general education program in the field of fine arts “Painting” and the duration of study for this program. Order of the Ministry of Culture of the Russian Federation dated March 12, 2012 No. 156
“Natural material and fantasy” Program, recommendations, lesson development / author - compiled by L.I. Trepetunova. - Volgograd: Teacher, 2009-255 p.ISBN 978-5-7057-1724-8
“Crafts from natural materials” “do it yourself.” L.V. Baklanova Tula, Rodnichok, Moscow Astrel AST 2008 UDC 372.3/4 BBK 74.200.54. B19.
Zinovkina M. M., Utemov V. V. The structure of a creative lesson on the development of the creative personality of students in the NFTM-TRIZ pedagogical system // Concept. – 2013. – Modern scientific research. Issue 1. –ART 53572. – URL: http://e-koncept.ru/2013/53572.htm. - Mr. reg. El No FS 77-49965. – ISSN 2304-120X.
Posashilina V. A. Development of a support system for talented children: to make the student feel successful // Concept. – 2012. – No. 10 (October). – ART 12144. – URL: http://e-koncept.ru/2012/12144.htm. - Mr. reg. El No FS 77-49965. – ISSN 2304-120X. [Accessed 11/17/2013]
Internet sourceped-kopilka.ru
website and publishing house "MYTH.Childhood" using the book Jin Van't Hal "Creative education" wants to reveal to parents some of the secrets of nurturing a child’s creative abilities within the confines of the home, within the family. The book represents the life experience of an American mother of two children, the author of a popular blog about creative activities with children (ArtfulParent.com). Inside the book there are secrets and tips for developing artistic abilities, as well as 60 master classes for children from 1 to 8 years old.
The competition will be judged and artistic masterpieces selected by Lisa Arie, a popular blogger (www.lizon.org), author of the book “New Year’s Trouble. DIY crafts and gifts”, three-time winner of the Blog of Moms “Blog of the Year” award (including “Blog of the Year 2015”) and simply a creative mother of three boys of different ages. “I strive to notice the beauty in the world around us. And live in dreams, like in childhood. It’s always especially pleasant for me to try to create something interesting myself” - Lisa Arie.
To participate in the competition, be a member/subscriber of the groups of organizers, judges and sponsors of the tour in which you are taking part. Post a photo of the work made based on the master class of a particular tour on social networks on your page. Make a correct caption for the tour and put the hashtag #creative_education.
Mandatory condition for all participants: during the competition period, the account must be open so that you can view the competition work.
In contact with : subscribe to the organizers PARENTSRUS, MIFDetstvo, judge Lizon.org and tour sponsor..org, sponsor...”
Instagram: subscribe to all accounts of the organizers, judges and sponsors. Put the hashtag and signature “#creative_education competition from @journal_sites and @MifDetstvo, judge @Lizon_org, tour sponsor...”.
Facebook: Follow all accounts of the organizers, judges and sponsors. Put the hashtag and signature “#creative_education competition from ParentsRusMagazine and MifDetstvo, judge Lizon.org, tour sponsor...”.
Among all the participants in each round, 3 winners will be selected regardless of the participation social network: VKontakte, Instagram, who will receive gifts from sponsors.
The number of photos from one participant is not limited, but they should not be repeated, since the competition platform is 3 social networks at once.
Creative work must be posted after the start of competitive activity. A photo published earlier can take part in the competition if it is re-posted with the correct caption and the hashtag #creative_education.
3 winners of our last round will receive a gift from KubiRuby store set for the development of fine motor skills, imagination and spatial thinking. The set consists of: 1 kg kinetic sand, set of 3d molds and sandboxes. Prizes will be delivered only within Russia.
KubiRuby Store offers everything for creativity, regardless of age. Parents and children will especially appreciate 3D molds made in Germany.
Developed by the German company Sand Creation, 3D molds for sand (including kinetic sand), plaster and other materials will give your child a new look at sculpting Easter cakes. They will allow you to create voluminous and incredibly detailed figures on the beach, at home or in the yard, in summer and winter (even from snow!). The new 3D molds are ideal for the increasingly popular games with live or kinetic sand and will introduce kids to the concept of volume and shape. They consist of two parts, into each of which you need to pour material, combine the parts, place them on a hard surface and remove the mold parts.
Tag our sponsor in your signature on social networks: VKontakte -KubiRuby Store, Facebook - KUBIRUBI.RU and Instagram - @kubirubi.
We have 2 sponsors for this tour: producers of eco-horses for children and adults Craft_horse and publisher of board games for the whole family HobbyWorld. ATTENTION: Both sponsors must be indicated in the signature for the competition entry, since 3 winners will receive 2 gifts at once! Prizes will be delivered only within Russia.
So, in order about the prizes:
3 (three) winners will receive souvenir horse in a wooden box with the baby's name. All Craft_horse horses are made of cardboard and are a stylish decorative element and a good gift.
VKontakte - craft_horse and Instagram - @craft_horse.
They will also receive as a gift one of 3 educational and exciting board games for children from HobbyWorld.
“Cheese Day” is a game for developing logical thinking and memory for children aged 5 years and older. Children are invited to play the role of restless mice and try to collect as many cheese holes as possible.
“Miracle in Feathers” is a mischievous children's game with simple rules in which players will literally have to throw birds into the crown of a tree. The game will determine the most dexterous children and will allow you to have fun.
The game "Tags" asks you to guess who is hiding in the bushes: a harmless rabbit or a lively cow. The board game will test children's attentiveness and reaction. It's not that difficult to confuse a ladybug and a menacing leopard! The game is based on an educational technique for comparing colors and patterns for very young children.
Tag our sponsor in your social media signature: VKontakte - Hobbyworld and Instagram - @hobbyworld.
Additionally, two tour participants will receive Jean Van’t Hal’s inspiring book “Creative Parenting.”
The announcement of the results of the 3rd round will take place on April 30 after 12:00.
Photos added after this time are not taken into account in the competition.
A prize from the Two Palms company - one of 3 educational sets for children aged 1.5 to 5 years. Delivery of prizes will be free only within Russia.
“Two Palms” is a box of fun ideas for children and parents that comes straight to home every month. Each set contains not only original author's ideas for educational games with children from 1.5 to 5 years old, but also all the necessary materials - books, stationery, teaching material, blanks for crafts, detailed methodological instructions and much more. Each set is dedicated to a new topic - Space, Insects, Birds and is presented in the form of a fairy tale game, all materials are included in the set, all you have to do is open the box and start studying the new topic.
Two tour participants will also receive Jean Van't Hal's inspiring book, Creative Parenting.
The prize from @Kotletka_shop and @Kottletka is one of 3 stylish sets of children's clothing, consisting of a fashionable sweatshirt with a bright print, light leggings and a head accessory (hats or headbands, to choose from), which will be very useful in the summer.
Indicate the account of our sponsor @Kotletka_shop everywhere.
Two tour participants will receive Jean Van't Hal's inspiring book, Creative Parenting.