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STATE AUTONOMOUS INSTITUTION
ADDITIONAL PROFESSIONAL EDUCATION
LIPETSK REGION
"INSTITUTE FOR THE DEVELOPMENT OF EDUCATION"
GRADUATE WORK
"Development of creative abilities in younger students"
Performed:
Dodonova Marina Vladimirovna,
student of professional
retraining in the field
primary general education
LIPETSK 2016
INTRODUCTION………………………………………………………………….. ……..3
Chapter I. The problem of the development of creative abilities in younger students in the research of domestic scientists………………………5
1.1. The essence of the concepts of "creativity" and "creative potential" of the child ...... 6 1.2. The value of extracurricular activities of younger students in the development of creative abilities…………………………………………………………….10 1.3. Pedagogical conditions for revealing the creative potential of younger students…………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………
ChapterII……………………………………….14
2.1. Diagnostic study of the levels of development of the creative potential of students…………………………………………………………………………..15
2.2. Working programm Studio "Magic Ribbon"……………………………19
Conclusion…………………………………………………………………………23
Bibliography……………………………………………………………….25
Application………………………………………………………………………..29
INTRODUCTION
“Creativity is not only for geniuses,
who created great works of art.
Creativity is everywhere
where a person imagines, combines,
creates something new.
L. S. Vygodsky
The relevance of the topic of this work is due to the acute need of society for creatively developed "creative" people and, in fact, weak methodological support of modern elementary school didactic material aimed at developing the creative abilities of younger students in extracurricular activities.
From a psychological point of view, primary school age, like preschool age, is a sensitive period for the development of creative abilities. This is due characteristic features age. Children of primary school age are extremely inquisitive, they have a great desire to learn about the world around them. The accumulation of experience and knowledge is a necessary prerequisite for future creative activity.
To reveal the concept of "creativity", it is necessary to consider such concepts as "creativity", "ability".
V.A. Sukhomlinsky, the founder of the concept of humanistic education, an outstanding teacher of the 20th century, considered the problem of creativity "one of the areas of pedagogical virgin land" . In his opinion, creativity begins where the intellectual and aesthetic riches, mastered and obtained earlier, become a means of knowing, mastering, transforming the world, while "the human personality seems to merge with its spiritual heritage."
The key problem in solving the problem of increasing the efficiency and quality of the educational process is the educational and cognitive activity of schoolchildren. Its special significance lies in the fact that the teaching, being a reflective and transforming activity, is aimed not only at the perception of the material, but also at the formation of the student's attitude to the cognitive activity itself. The transforming nature of activity is connected with the activity of the subject. Knowledge obtained in a ready-made form, as a rule, causes difficulty for students in their application to explaining observed phenomena and solving specific problems. One of the significant shortcomings of students' knowledge remains formalism, which manifests itself in the separation of theoretical positions memorized by students from the ability to apply them in practice. At present, the importance of reproductive activities associated, as a rule, with the use of traditional technologies is declining in the world. The importance of human creative activity in all spheres of activity is increasing. Under these conditions, it is necessary to create a creative environment in education, the most important criterion of which is the orientation towards new educational results.
In this regard, many teachers are aware that the true goal of education is not only the acquisition of certain knowledge, skills and abilities, but also the development of imagination, observation, quick wits and the education of a creative person as a whole. This is also indicated to us by the Federal State Educational Standard of Primary General Education, which states that “ extracurricular activities schoolchildren is considered as an activity with great potential for creating an educative and developing environment in an educational organization, shaping various areas of a child's personality, satisfying his cognitive needs and developing creative abilities"
Today, there are a number of contradictions in the educational space, namely:
Between the legal regulation of the educational process in primary school, which is aimed at developing the creative potential of younger students and the lack of security for its implementation in extracurricular activities;
Between the need to unlock the creative potential of younger students and insufficiently developed methodological tools, as well as ways of its formation in educational institutions.
Thus, the relevance of the problem under consideration, its insufficient development and great practical significance determined the topic of our thesis : "Development of creative abilities in primary school students".
Target: to uncover reveal pedagogical conditions conducive to the development of creative abilities of a younger student.
To achieve the goal, the following tasks:
To analyze the scientific and methodological literature on the problem of revealing the creative potential of younger students.
To reveal the essence of the concepts of "creativity", "the creative potential of the child."
To reveal the pedagogical conditions that contribute to the development of the creative abilities of a younger student within the framework of the Federal State Educational Standard of the IEO.
To develop and implement in extracurricular activities the program of the studio "Magic Ribbon", which contributes to the disclosure of the creative potential of children of primary school age.
The practical significance of the thesis: the materials of the work and the author's program of the studio "Magic Ribbon", which contributes to the disclosure of the creative potential of children of primary school age, can be used in the practice of work by primary school teachers.
Work structure: consists of an introduction, two chapters, a conclusion, a list of references, an appendix (a flow chart of the lesson).
Chapter I
1.1. The essence of the concepts of "creativity" and "creative potential" of the child
At present, Russia is developing new system education, is being implemented by the Federal State Educational Standard of the IEO. The Standard is based on a system-activity approach, which involves: a variety of organizational forms and taking into account the individual characteristics of each student (including gifted children and children with disabilities), ensuring the growth of creative potential, cognitive motives, enrichment of forms of interaction with peers and adults in cognitive activities.
Therefore, the “education-teaching” model has been replaced by “education-interaction”, when the personality of the student becomes the head of the educational process, the center of attention of the teacher. This process is accompanied by significant changes in the pedagogical theory and practice of the educational process.
The main task of primary school is to ensure the development of the personality of each child. The sources of the full development of the child are two types of activity - educational and creative. In the process of learning activities, a general ability to learn is formed. Within the framework of creative activity, a general ability to seek and find new solutions, unusual ways of achieving results, new approaches to considering the proposed situation is formed.
Psychological aspects of the development of creative abilities are covered in the works of domestic and foreign scientists: L.S. Vygotsky, A.N. Leontiev, D. Gilford, E.P. Torrens and others.
What is creativity? In a general sense, it is the embodiment of individuality, it is a form of self-realization of the individual, it is an opportunity to express one's special, unique attitude to the world.
Creation - a form of human activity that performs a transforming function.
In pedagogy and pedagogical psychology, there are a number of scientific areas that develop the problem of the formation of creative abilities: this is developmental education (V.V. Davydov, L.V. Zankov, D.B. Elkonin), problem-based learning (A.M. Matyushkin, M.I. Makhmutov and others), the theory of education
Creativity is a very important moment in the development of a child. It is good when a child sees the beauty and diversity of the world around him. But it is even better if he not only notices this beauty, but also creates it. The result obtained is aesthetically emotionally attractive to the child, since he made one or another cute little thing himself. After the child begins to create beauty with his own hands, he will certainly begin to treat our world with love and care. And love and harmony will enter his life. In creative activity, the child develops, acquires social experience, reveals his natural talents and abilities, satisfies his interests and needs.
The Federal State Educational Standard of Primary Education states: “Personal results of mastering the basic educational program of primary education should reflect: the presence of motivation for creative work, work for results. The meta-subject results of mastering the main educational program should reflect: the development of ways to solve problems of a creative and exploratory nature.
Based on the works of L.A. Darinskaya, creativity is a complex integral concept that includes natural-genetic, social-personal and logical components, which together represent the knowledge, skills, abilities and aspirations of the individual to transform in various fields of activity within the framework of universal human norms of morality and morality. The creative potential of the student, according to the author, as a system of personal abilities, knowledge, skills, relationships is characterized through:
Striving for the significance of one's own personality (self-realization);
Creative approach to educational activities; creative activity in educational activities;
Ability to self-expression;
Reflection of one's own life activity;
Orientation to creative activity in the changing educational space.
In foreign psychology, abilities are most often interpreted as special mental qualities of a person, hereditarily determined. Domestic psychology does not recognize innate abilities. But at the same time, he does not deny the innateness of some features that are associated with the peculiarity of the structure of the brain, sensory organs, and features of the type of the nervous system. These features of a person, which act as natural prerequisites for the development of abilities, are called inclinations.
Inclinations as prerequisites for abilities do not guarantee their development. They represent only one of the conditions for the formation of abilities. Any inclinations, before developing into abilities, must go a long way of development.
Not a single person, no matter what inclinations he possesses, can become a talented musician, mathematician or artist without being engaged in the corresponding activity. The assignments themselves are significant. Based on the same inclinations, different abilities can develop. It depends on the nature and requirements of the activity in which a person is engaged, as well as on living conditions.
Creative activity, on the one hand, is the result, and, on the other hand, it is an important condition for the further development of the individual, the development of his creative potential.
As applied to primary school age, creative activity means the creation of something qualitatively new, unique and original for a given primary school student (construction, drawing, writing, creative play, etc.), and not a mechanical copying of one's previous and other people's stereotypes of behavior.
It must also be remembered that creativity is understood as something that does not apply to knowledge, skills and abilities. Abilities ensure their rapid acquisition and use in practice.
Extracurricular activities are an important resource for the development of creative abilities. Competent organization of extracurricular time encourages students to be independent, to search for new solutions, to self-expression.
The creative activity of a person always involves the creation of something new - whether it is an object of the external world or the construction of thinking, which leads to new knowledge about the world, or a feeling that reflects a new attitude to reality.
The question of the components of human creativity is still open, at the moment there are several hypotheses concerning this problem.
Based on the foregoing, we can conclude that there is currently no consensus on the definition and content of the concept of "creativity". However, the study of the problem of creativity is now becoming complex and is an important area of research. Modern society needs educated, moral, creative people who can make their own responsible decisions.
1.2. The value of extracurricular activities of younger students in the development of creative abilities
Extracurricular activities - an activity organization based on the variable component of the basic educational (educational) plan, organized by the participants in the educational process, different from the lesson system of education. Extracurricular activities include such forms of work as excursions, circles, sections, round tables, conferences, debates, KVNs, school scientific communities, olympiads, competitions, search and scientific research, etc.
The organization of extracurricular educational activities is an obligatory part of the educational process at school.
The time allotted for extracurricular activities is not taken into account when determining the maximum allowable weekly load of students, but is taken into account when determining the amount of funding allocated for the implementation of the main educational program.
The advantages of extracurricular activities are that students are given the opportunity for a wide range of activities aimed at the comprehensive development of the student.
The following types of extracurricular activities are available for implementation at the school:
Gaming activity;
cognitive activity;
Problem-value communication;
Leisure and entertainment activities;
Artistic creativity;
Social creativity;
Labor activity;
Sports and recreation activities;
Tourist and local history activities, etc.
Filling with the specific content of this section is within the competence of the educational institution.
The priority in organizing extracurricular educational activities in primary school is extracurricular project activities.
At the same time, circle activities, studios, electives, etc. are effective in extracurricular educational activities of younger students.
To develop the potential of gifted and talented children, individual educational plans can be developed with the participation of the students themselves and their parents (legal representatives), within the framework of which individual educational programs are formed (content of disciplines, courses, modules, pace and forms of education).
According to the dictionary of the Russian language creation(in psychology it is often called creativity from the Latin word creare, which means to generate, create, create) is the creation of new cultural and material values.
Currently, in connection with the transition to new standards, extracurricular activities are being improved. Children learn to generate, create, create.
The GEF IEO model is pedagogically expedient, as it contributes to a more versatile disclosure of the individual abilities of the child, which are not always possible to consider in the classroom, the development of children's interest in various activities, the desire to actively participate in productive activities, the ability to independently organize their free time. Each type of extracurricular activity: creative, cognitive, sports, labor, play - enriches the experience of collective interaction of schoolchildren in a certain aspect, which in its totality gives a great educational effect.
Thus, a properly organized system of extracurricular activities is an educational environment that creates maximum conditions for the development of the cognitive needs and abilities of each student. .
1.3. Pedagogical conditions for revealing the creative potential of younger students
By nature, children have the makings of a variety of abilities. The task of the teacher is to create favorable conditions for the identification of these abilities in activities that are accessible and interesting for children. To develop abilities means to equip children with methods of activity, to create conditions for the identification and development of their giftedness. Abilities are developed and formed in labor and perish in inaction. The development of creative abilities and creative activity must be carried out taking into account the psychological, age and individual characteristics of children. It is important to take into account the methods and means of creative development that are age-appropriate.
One of the main tasks in the development of creative abilities is the development of a child's interest in creativity.
It requires mental activity, intellectual abilities, strong-willed, emotional traits and high performance.
Younger students often turn to the teacher with different questions. The teacher should encourage the manifestation of cognitive activity of the child. According to the Soviet psychologist A.M. Matyushkin, the basis for the development of productive (creative) cognitive activity is formed by those principles of personality and thinking education, which include stimulation and encouragement of the very acts of cognitive activity by another person.
In addition to creating conditions for the manifestation and development of the child's creative activity, it is necessary to provide the child with freedom in knowing the world around him, the world of creativity.
The task of the teacher in primary school is to create in children a rich stock of ideas of memory and imagination. Instead of chaotic and often low-content fantasy, it is necessary to form in children such ideas that will become the basis of scientific concepts, will correctly reflect the surrounding reality.
A child, like an adult, seeks to express his "I". Often adults believe that every child is born with creative abilities and, if he is not interfered with, then sooner or later they will definitely manifest themselves. But, as practice shows, such non-intervention is not enough: not all children can open the way to creation. And not everyone can keep creative abilities for a long time. Exactly at school years the critical moment of children's creative abilities comes. Consequently, it is precisely during the school period that the help of a teacher is needed more than ever to overcome this crisis and gain, and not lose, the opportunity for self-realization.
ChapterII. The practice of the teacher's work, aimed at revealing the creative potential of students
Pedagogical activity aimed at revealing the creative potential of primary school students and further development of their creativity in our work is presented in two stages. The first stage is a diagnostic study of the levels of development of the creative potential of students; the second is the implementation of the author's program for the development of children's creative abilities.
2.1. Diagnostic study of the levels of development of the creative potential of students
1. Diagnosis of the initial level of development of creative potential in students of grades 1-4.
2. Development and testing of the program of the studio "Magic Ribbon", which contributes to the development of creative abilities in children of primary school age, implemented outside of school activities (forming stage of the experiment).
In the course of solving problems, we used a survey of students, parents and statistical data processing.
This study was conducted in a branch of the municipal educational institution of the secondary school of the village of Khrushchevka in the village of Krutye Khutor named after Hero Soviet Union P.D. Kuznetsov Lipetsk municipal district of the Lipetsk region.
The pilot study involved girls studying in grades 1-4. The experiment involved 2 groups (mixed) of 10 people. Group (AA) included the experimental group, and group BB included the control group.
Before the start of the survey, we conducted a conversation to establish emotional contact with the child, the correct attitude towards the experimenter. Its content was aimed at identifying the features of the child's ideas about the world around him, revealing the interests of the child with the help of his favorite activities. In the process of questioning, we observed a calm, friendly atmosphere, a friendly emotional tone, and a respectful attitude towards the personality of the child.
Methodology "Questionnaire of the Inventor" according to L.Yu. Subbotina
To determine the motivational-required criterion of the creative abilities of younger schoolchildren, the "Inventor's Questionnaire" methodology was carried out.
The questionnaire consisted of 10 questions, to which the child had to answer "yes" - "no". Each positive answer was estimated at 1 point, negative - 0 points (see Appendix 2).
Evaluation criteria:
If the result of the questionnaire is 8-10 points, then the level of motivation for the manifestation of creative abilities is high, 5-7 points - the average level, 0 - 4 points - low level.
The results of the experimental study at the ascertaining stage in the experimental and control groups are presented in tables
Diagram 1
Thus, 2 people (20%) in the experimental group and 3 people (30%) in the control group demonstrated a high readiness to manifest themselves as a creative person and the presence of interest in creative activities. In the experimental and control groups, where the low level is 30% and 10%, respectively, students asked additional questions during the task, using the teacher's prompt.
2. Creative task "Show how he moves, speaks"
The child is alternately offered postcards, pictures, photographs with various images, both animate and inanimate. He needs to show how this object moves, to come up with a speech, a language.
Creative development is tested through the presentation of art objects, reproductions, photos, postcards and the perception of a holistic image and the expressiveness of its form.
We showed photographs, pictures and postcards depicting a robot, a monkey, a car, a flower, a cloud, a ball, a bird, a snowflake, a telephone, grass, a beetle, etc.
When evaluating this task, we used a three-point system, i.e. presented the results in three levels:
high level - accuracy, integrity of the transmitted image, expressiveness of the show;
medium level - only some elements are “captured”, a rather expressive display;
low level - the image is not perceived, expressiveness is absent.
Diagram 2
Thus, 5 people (50%) in the experimental group and 6 people (60%) in the control group demonstrated a high readiness to manifest themselves as a creative person and the presence of interest in creative activities. In the experimental and control groups, where the low level is 10% and 10%, respectively, students asked additional questions during the task, using the teacher's prompt.
3. Questionnaire F. Tatl and L. Becker (for parents and teachers)
Foreign researchers F. Tatl and L. Becker compiled a questionnaire for parents and teachers regarding the child's data. In this questionnaire, features are highlighted that indicate the great potential of the child.
The minimum number of points scored is 17, the maximum is 85.
Low level: 17 - 34 points; Average level: 35 - 60 points; High level: 61 - 85 points.
Diagram 3
An analysis of the results of a survey of parents makes it possible to say that parents sometimes tend to exaggerate the abilities of their children. Teachers and parents need to purposefully develop the creative potential of children of primary school age.
Analyzing the above, we conclude that properly selected programs, work in cooperation between the student and the teacher, a friendly environment and the interest of students in creative activities contribute to the disclosure of the creative potential of younger students.
2.2. The working program of the studio "Magic Ribbon"
To give children the joy of work, the joy of success in
teaching, awaken in their hearts a sense of pride,
dignity is the first commandment
education. There should be no unhappy people in our schools
children - children whose soul is gnawed by the thought that they
are incapable of anything. Success in learning is the only
ny source of internal forces of the child, giving birth
energy to overcome difficulties, desire to learn
Sukhomlinsky V. A
Explanatory note
AT last years Our society has undergone major changes. On the one hand, socio-economic conditions have become more complicated, and the preparation of children for a future adult life, early professionalization and social adaptation come to the fore, but on the other hand, the social system increasingly dictates an appeal to a person, to the personality of a child who needs to express his individuality, originality.
These profound changes could not but affect such a sensitive and responsive sphere of our society as additional education. It is additional education that is the niche where a child can realize his needs and interests, show independence and responsibility; develop as a person. One of the ways of self-expression, creating an individual style, translating ideas into reality is arts and crafts.
The program of the studio "Magic Ribbon" involves, through teaching arts and crafts (creative needlework), to help create conditions for the formation of a child's creative personality.
Program concept
Additional educational program of artistic and aesthetic orientation "Magic Ribbon" is practice-oriented in nature and is aimed at mastering the basic techniques of "Tsumami Kanzashi" by students.
Relevance
The program is due to the fact that it is aimed at creating conditions for the creative development of the child, at the development of motivation for learning and creativity, the development of fine motor skills, helps prevent antisocial behavior of children, and interaction with the family.
Program goal:
1. Activation of work on the formation of value orientations among students through the revival of interest in folk traditions, decorative and applied art.
2. Creation of conditions for the formation of a creative personality capable of creating oneself as an individual
3. Formation of a positive emotional and value attitude towards work and working people.
The implementation of the program is connected with the solution of the following tasks:
to cultivate industriousness - a necessary quality for everyone in the future independent life;
to develop in children the vital skills required for their social adaptation to the conditions of a changing reality;
to help children show their individual abilities, imagination, observation and creativity;
to cultivate an aesthetic attitude to objects and phenomena of the surrounding world, to develop an artistic taste, to arouse interest in knowledge;
develop figurative and spatial thinking, develop motor skills of hands, an eye;
develop the spiritual and moral qualities of students;
to form the identity of a Russian citizen in a multicultural multinational society on the basis of acquaintance with the crafts of different peoples;
Distinctive features of the Program
Classes according to the program are structured in such a way as to meet the needs of children and parents in meaningful leisure, in creative self-expression, and prepare them for independent living.
Children's age
Children 8-11 years old who do not have special skills come to the group of the first year of study. The level of training of students entering the groups of the second and third years of study is determined by the input diagnostics. Groups are formed of different ages, in connection with the conditions of the school. The set of children in groups is free.
Expected results and ways to measure their effectiveness
Mastering this program ensures the achievement of:
Personal, subject, regulatory, cognitive and communicative universal educational activities:
To get the above results, use:
Introductory control: determination of the initial level of knowledge and skills.
Lessons of different types - "First acquaintance", "Journey to the country" Kanzashi ", questionnaires, conversations.
current control: determination of the level of assimilation of the studied material by tests, surveys, quality control of products.
Final control: about determination of the results of work and the degree of assimilation
theoretical and practical ZUN, formation of personal qualities.
Work results each pupil is made out in a portfolio of creative achievements.
As a result of the program, children discovered for themselves:
the richness and beauty of modern needlework, based on the origins of folk art;
fine motor skills of hands, attention, perseverance and patience have developed;
received information about the crafts and artistic crafts of Russia;
won prizes in regional competitions of arts and crafts and technical creativity "Palette of Crafts".
Pedagogical expediency
The program of the children's association "Magic Ribbon" is aimed at teaching arts and crafts and contributes to the creation of conditions for the formation of a child's creative personality. It develops in children the vital skills required for their social adaptation to the conditions of a changing reality. The main idea of the program is to intensify work on the formation of value orientations among students through the revival of interest in folk traditions, decorative and applied art.
CONCLUSION
Having studied and analyzed the literature on this topic, we came to the conclusion that there is currently no consensus on the definition and content of the concept of "creativity". However, scientists and researchers say that every person has the ability for creative activity to one degree or another. And the study of pedagogical conditions conducive to the disclosure of creative potential allowed us to conclude that it is precisely the properly organized assistance of the teacher that allows younger students to gain, and not lose, the opportunity for their self-realization.
Every child is more or less capable of creativity, it is a constant and natural companion of personality formation. The ability to create, ultimately, develops in a child by adults: teachers and parents, and this is a very subtle and delicate area of education: it is possible to raise a creatively capable child only on the basis of a very deep knowledge of his personality, on the basis of a careful and tactful attitude to the originality of these traits. .
A teacher can achieve the desired result only if he himself is not alien to creativity, constant search, creation. A creative teacher is one who:
He teaches enthusiastically, creatively plans his work;
Freely orientated in modern pedagogical ideas, concepts and teaching technologies;
Respects the personality of the student;
Differentiates the volume and complexity of tasks;
Encourages students to raise cognitive questions, knows how to simultaneously keep all students in the class in sight;
Develops the child, adapting to his zone of proximal development, the development guide is aimed at the student;
The teacher assists the child in the formation of a positive self-concept, self-knowledge and creative self-manifestation;
Thus, we can conclude that the development of the creative abilities of younger students and their creativity should be purposeful, taking into account the interests of the child, under the control of parents and teachers. Only in the close cooperation of all interested parties can a comprehensively developed creative personality develop. Only then can the teacher fulfill the state order. The Federal State Educational Standard of Primary Education states: “Personal results of mastering the basic educational program of primary education should reflect: the presence of motivation for creative work, work for results.
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APPENDIX
Attachment 1
Instruction: Read each of the following items and determine the score. Put (X) in the place that corresponds to your choice: 1 - very rarely or never; 2 - rarely; 3 - sometimes; 4 - often; 5 - almost always.
| Features of the child | 1 | 2 | 3 | 4 | 5 |
|
| Shows great curiosity in relation to various objects, phenomena, events. Asks many questions, including “why?”, “why?”, “why?” | ||||||
| Asks a lot of "smart" questions that are usually not interesting for young children | ||||||
| Accurately, correctly uses many words in his speech | ||||||
| Demonstrates the ability to tell or retell stories in great detail. facts | ||||||
| Can have "intelligent" conversations with other children, adults | ||||||
| Inclined to serious thinking, interested in complex, global problems (for example, can talk about life and death, etc.) | ||||||
| Can easily solve riddles and can invent them | ||||||
| Understands complex (for his age) definitions and relationships. Finds things in common, phenomena, even if it is not obvious. Demonstrates abstract thinking | ||||||
| Handles counting easily. simple arithmetic operations | ||||||
| Understands the meaning of numbers from 1 to 10,100,1000 | ||||||
| Understands the meaning and uses of charts and maps better than peers | ||||||
| Shows great interest in watches. Calendars, can understand their functions | ||||||
| Shows a great desire to learn - to acquire new knowledge, skills | ||||||
| Shows the ability to concentrate. Maintaining attention for a longer period of time than his peers | ||||||
| Easily grasps and retains a large amount of information. Remembers more details than other children | ||||||
| Shows keen observation | ||||||
| Shows talent in the field of music, drawing, rhythm and other areas of art |
50+20+3+2=75 - High level
Appendix 2
Lesson summary ""Journey to the country" Tsumami - Kanzashi "
on the course "Magic Ribbon".
| Goals | Introduce students to the Tsumami-kanzashi technique; with the history of kanzashi; with the possibility of using satin ribbons; to instill skills in working with narrow fabric; show the basics of making a sharp petal; independently invent design elements and decorate the product; develop the skills of analysis of the finished product and work planning; work with a pattern, use a glue gun, “forward needle” seams; educate interest in decorative and applied arts. | |
| Lesson type | Introductory lesson | |
| Methods and forms | Explanatory and illustrative, practical; individual, frontal. | |
| Basic concepts and terms | Tsumami, kanzashi, origami, decor, accessories. | |
| Educational | musical series mp3island.com› /Japanese music muzofon.com› search/Japanese music without words Literature: 1. Deborah Henry. Floral fantasies from ribbons. - Moscow, 2007. 2.Alby Books. Japanese art of kanzashi. - Moscow, 2013 3. Poems by N. Krasilnikov | |
| Visual and demonstration | Multimedia presentation “Journey to the country of Tsumami-Kanzashi”; product samples: a hairpin, a headband, a picture, a tea ceremony souvenir. | |
| Equipment | Satin ribbons of different colors, scissors, lighter, "Moment-Crystal" glue, glue (hot) gun, beads, rhinestones, beads, headband, sequins, glass plate. | |
| Planned | Item Skills: learn how to make a sharp petal, work with a finished pattern, use a glue gun and Moment-Crystal glue, a lighter; use beads, sequins, independently invent design elements and decorate the product; perform the product "Flower". Meta-subject universal learning activities (UUD): cognitive- learn to consciously work on the technological map in order to master and use a new type of petal, analyze information, conduct research; regulatory- learn to plan their activities, to speak aloud the sequence of mastered actions; communicative- to master the ability to proactively cooperate with a teacher, friend, answer questions, draw conclusions. Personal: acquire motivation for educational and creative activities in the field of arts and crafts. | |
| Organizational structure of the lesson |
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| Stages | Educational and developmental components | Teacher activity | Activity | organizations action | Universal | Intermediate |
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| Teacher preparation - Xia to us- warfare of the studied material. Messages nie Topics lesson | Checks the readiness of students for the lesson. – Invented by someone simply and wisely.
Hello dear friends! I am glad to meet today and hope for your support, diligence and diligence. slide 1 | Organize the workplace for the lesson. listen | Frontal | Personal: are motivated to be creative. Regulatory: accept and save the learning task | readiness |
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| II. Self-determination to activity. | Guys, listen to a short piece of music. Music sounds - What do you think, what country will we talk about now? Today we will make an unforgettable journey to the Land of the Rising Sun. slide 2 What associations do you have? - Correctly! slide 3 There are beautiful boxes on your table. What do you think they might contain? – Indeed, in the box are tools for making flowers in the style of kanzashi. Today we will learn what “Tsumami-kanzashi” is, learn how to make kanzashi petals, make flowers and decorate the rim with them. slide 4 | Listen to music; give answers; analyze information; | Frontal | Personal:
understand personal responsibility | Oral responses |
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| III. The study new material | 1. Verbal story " The history of the emergence of the Tsumami Kanzashi technique. | The history of the emergence of the Tsumami-kanzashi technique slide 5 Translated from Japanese kanzashi - hairpin. It was the hairpin that gave the name to the new original kind of arts and crafts, which is alive and well to this day, gaining more and more fans around the world. The art of "Tsumami-kanzashi" dates back to the 17th century, to the second half of the Edo period, when Japanese women began to create complex hairstyles, lavishly decorated with all sorts of hairpins and combs. And they were forced to engage in this type of needlework by the decree of the ruler “On the prohibition of wearing jewelry for most women.” Is it possible to imagine a woman, a girl, a girl without jewelry? It is to this ridiculous law that lovers of needlework owe the appearance of Tsumami-kanzashi. slide 6 Kanzashi were an important element in the hairstyle, one "Tsumami-kanzashi" could cost more than a kimono. By her hairstyle and jewelry, one could judge the social status of a Japanese woman. The hairstyle told about what stratum of society its owner belongs to, whether she is married to a Japanese woman or not, whether she has children and how many. Due to its originality, the revived art of "Tsumami-kanzashi" is becoming very popular among fashionistas and needlewomen from different countries and continents. The art of kanzashi has gained popularity in Russia as well. Slide 7 | Listen to teachers; | frontal | Cognitive: extract the necessary information from the listened teacher's explanation, watch the presentation. and use the information. Communicative: formulate their own opinion. Regulatory: | Oral responses |
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| 2. Verbal-il- illustrative story " Features of the “Tsumami Kanzashi” technique . Viewing a multimedia presentation. | Features of the “Tsumami-kanzashi” technique Tsumami Kanzashi is based on origami, the traditional Japanese art of folding paper crafts. The most amazing thing is that at the heart of all this beauty lies one reception - folding (tsumami) Slide 8 Nowadays, the Tsumami-kanzashi technique is used both in hairstyles and crafts, and in interior and wardrobe. Of course, we have modernized kanzashi a lot, but, nevertheless, the basics are the same, and beauty and splendor remain! Slide 9 | Listen to teachers; looking at the slides | Frontal | Personal: show interest in subject-practical activities. Communicative: able to listen and hear the teacher. Cognitive: extract the necessary information from the listened explanation of the teacher; learn to analyze information. Regulatory: accept and save the learning task. | Oral responses |
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| 3. Acquaintance with the technological map " Sequence of Operations. | - The teacher talks about the technological stages Slide 10
| Listen to teachers; examine the map, conduct research; analyze information, observe, draw conclusions | Frontal | Cognitive: under the guidance of the teacher and in cooperation with the children, they extract essential information from the technological maps. Communicative: are able to proactively cooperate in the search for new information and the collection of information. Regulatory: carry out step-by-step control of their actions, using a step-by-step sequence with a given scheme. | Oral responses |
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| 4. Introductory briefing . | The teacher talks and checks knowledge on safety precautions. Open the boxes. What do you see? Let's get acquainted with the rules for using individual items. Pistol- electrical appliance. Attention! The gun warms up in about 3 minutes. During the operation of the gun, the nozzle becomes very hot! So don't touch your nose glue gun and to molten adhesive to avoid burns. The gun should lie on a plate. After finishing work, unplug the tool from the socket. It is not recommended to continuously use the glue gun for more than 1 hour. Candle- contains a flammable substance, gives a flame when working. It is necessary to follow the fire, not to bring it to the head, to control all your movements. Scissors– How to use them? Plate- How to handle the plate? | Listen to teachers; considering- formation, watching draw conclusions, answer questions | Frontal | Cognitive: under the guidance of the teacher and in cooperation with the children, carry out the simplest examination of the contents of the box material Communicative: are able to proactively cooperate in the search and collection of information, answer questions, draw conclusions. Regulatory: study I use the information received and exercise safety control. | Oral responses |
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| Fizkultminutka. | Physical education is held to the music It's easy fun Turns left, right. We all know for a long time There is a wall, and there is a window. And now the slope is in place, This is also interesting. | Do the exercises | Frontal | Personal: have a positive attitude towards physical activity. | Exercise |
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| IV. t thief- practical activity | 1.Organization | Checks the organization of the workplace of students | Organize your workplace | Individual | Cognitive: know how to organize a creative space, prepare a workplace; know about occupational health. Personal: committed to taking responsibility for their own health. Regulatory: are learning engage in independent practice. | Oral responses |
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| 2. Conversation - demonstration "Do as I do." | Shows students how to create a sharp petal. -Demonstrates how to make a product. | Analyze information; repeat exactly successor- ness of work; observe the actions of the teacher, demonstrate working methods | Frontal | Personal: focused on fruitful work in the classroom, compliance with the norms and rules of conduct. Communicative: understand the meaning of the teacher's tasks and accept the learning task. Regulatory: plan their activities work according to given instructions. Cognitive: can analyze information, work plan on the product, highlighting the main stages and techniques. | Oral responses |
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| 3.Individual work. | In the course of work supervises observance of rules of safety, methods of work. Observes, advises, answers students' questions, helps in completing the task. Warms up the gun. You are amazing students. I suggest that you complete the second petal yourself using the technological map (music plays) | Carry out the task | Individual | Cognitive: organize independent creative activity; learn to "read" the technological map. Regulatory: compare the result of the activity with the original; make the necessary additions and corrections. | Making a sharp petal |
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| 4. Creative work in groups "Assembly of a flower and decoration of the rim." | In the course of work supervises observance of rules of safety, methods of work. Helps to collect petals into a flower, connect with a rim, advises, answers students' questions. It remains to collect our flower and attach it to the rim. Connect all the petals with a glue gun (spreading glue on the tip of the petal). Connect the flower and headband with a glue gun. At your own discretion, you can decorate the rim with beads, sequins, rhinestones. | Carry out the task | Frontal | Communicative: are learning listen to each other, negotiate, work in a group, participate in a collective discussion. Cognitive: organize joint creative activities; choose the means to implement the common plan. Regulatory: compare the result of the activity with the original; decorate according to the group's intention. | Making flowers, decorating rims |
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| V. The results of the lesson. Reflection | 1. Exhibition of works Students. | In the process of viewing the work, the teacher organizes their discussion, evaluation. | ||||||||||||||||||||||
Federal Agency for Education
Kuzbass State Pedagogical Academy
Department of Humanitarian Disciplines and Teaching Methods
Final qualifying work
Development of creative abilities of younger students in the lessons of literary reading
female students of the 5th year of the 1st group OFO
Shipunova Anastasia Vladimirovna
Novokuznetsk 2009
Introduction
Chapter I. Theoretical foundations of the problem of developing the creative abilities of younger students
1.2 Analysis of practical experience development of creative abilities of younger students
Conclusions on Chapter I
Chapter II. Organizational and pedagogical conditions for the development of creative abilities of younger students
2.1 Development of creative abilities of younger students in the process of performing creative tasks
Conclusions on Chapter II
Conclusion
Bibliography
Application
Introduction
The problem of developing the creative abilities of younger students forms the basis, the foundation of the learning process, is an “eternal” pedagogical problem that does not lose its relevance over time, requiring constant, close attention and further development. Today, in society, there is a particularly acute need for people who are enterprising, creative, ready to find new approaches to solving urgent socio-economic and cultural problems, able to live in a new democratic society and be useful to this society. In this regard, the problem of developing the creative activity of the individual is of particular relevance today. Creative personalities at all times determined the progress of civilization, creating material and spiritual values that are distinguished by novelty, unconventional, helping people to see the unusual in seemingly ordinary phenomena. But it is precisely today that the educational process is faced with the task of educating a creative personality, starting from elementary school. This task is reflected in alternative educational programs, in the innovative processes taking place in the modern school. Creative activity develops in the process of activities that have a creative nature, which makes students learn and be surprised, find solutions in non-standard situations. Therefore, today in pedagogical science and practice there is an intensive search for new, non-standard forms, methods and methods of teaching. Non-traditional types of lessons, problematic teaching methods, collective creative activities in extracurricular activities, which contribute to the development of creative activity of younger students, are becoming widespread.
Studies of the features of the development of creative activity of a younger schoolchild were carried out in the works of L.S. Vygotsky, B.M. Teplova, S.L. Rubinstein, N.S. Leites, teachers Sh.A. Amonashvili, G.I. Schukina, V.N. Druzhinina, V.D. Shadrikova, I.F. Kharlamov and others. Among the various means of developing the creative activity of younger students, Russian language lessons and reading in the primary grades occupy a special place.
The relevance stated in the final qualifying work is determined by the need of society for creative, active people and the insufficient use of various means in the lessons of the Russian language and reading, aimed at developing creative abilities. The importance and necessity of developing the creative activity of students in the practice of primary education led to the choice of the research topic "Development of creative abilities in the lessons of literary reading."
The purpose of the study: to identify and scientifically substantiate the organizational and pedagogical conditions for the development of creative abilities of younger students in the lessons of literary reading.
Object of study: the development of creative abilities of younger students.
Subject of study: the process of developing the creative abilities of younger students in reading lessons.
Research hypothesis: the development of the creative abilities of younger students in reading lessons will be effective if:
A truly creative atmosphere is created, conducive to the free manifestation of the child's creative thinking;
The inclusion of younger schoolchildren in creative activities, in the process of which creative tasks are solved, is ensured;
The choice of forms and methods of development of creative abilities is carried out;
During the study, the following tasks were solved:
1. Determine the psychological and pedagogical essence of the process of developing the creative abilities of younger students.
2. Determine the criteria and levels of development of creative abilities of younger students.
3. To analyze the practical experience of developing the creative abilities of younger students.
4. To identify effective conditions for the development of creative abilities of younger students in the lessons of literary reading.
Research methods: study and analysis of psychological and pedagogical literature on the research problem; pedagogical observation; questioning; conversations; psychological and pedagogical experiment; mathematical processing of experimental data.
The basis of our experimental study is the MOU "Sidorovskaya General Education School".
Chapter I. Theoretical foundations of the problem of developing the creative abilities of younger students.
1.1 Psychological and pedagogical essence of the concepts of "creative activity," creative abilities "of younger students
Creativity is not a new subject of study. The problem of human abilities has aroused great interest of people at all times. The analysis of the problem of the development of creative abilities will largely be determined by the content that we will invest in this concept. Very often, in everyday consciousness, creative abilities are identified with abilities for various types of artistic activity, with the ability to draw beautifully, compose poetry, write music, etc. What is creativity really?
Obviously, the concept we are considering is closely related to the concept of "creativity", "creative activity". The opinions of scientists about what is considered creativity are contradictory. In everyday life, creativity is usually called, firstly, activity in the field of art, secondly, design, creation, implementation of new projects, thirdly, scientific knowledge, the creation of the mind, fourthly, thinking in its highest form, beyond the limits of what is required to solve the problem that has arisen in already known ways, manifesting itself as imagination, which is a condition for mastery and initiative.
"Philosophical Encyclopedia" defines creativity as an activity that generates "something new, never before." The novelty resulting from creative activity can be both objective and subjective. Objective value is recognized for such products of creativity, in which still unknown patterns are revealed. surrounding reality, links are established and explained between phenomena that were considered unrelated. The subjective value of creative products takes place when the creative product is not new in itself, objectively, but new for the person who first created it. These are for the most part the products of children's creativity in the field of drawing, modeling, writing poetry and songs. In modern studies of European scientists, "creativity" is defined descriptively and acts as a combination of intellectual and personal factors. .
So, creativity is an activity, the result of which are new material and spiritual values; the highest form of mental activity, independence, the ability to create something new, original. As a result of creative activity, creative abilities are formed and developed.
What is "creativity" or "creativity"? So, P. Torrens understood creativity as the ability to a heightened perception of shortcomings, gaps in knowledge, disharmony. In the structure of creative activity, he singled out:
1. perception of the problem;
2. search for a solution;
3. the emergence and formulation of hypotheses;
4. hypothesis testing;
5. their modification;
6. finding results.
It is noted that such factors as temperament, the ability to quickly assimilate and generate ideas (not to be critical of them) play an important role in creative activity; that creative solutions come at a moment of relaxation, distraction of attention.
The essence of creativity, according to S. Mednik, is in the ability to overcome stereotypes at the final stage of mental synthesis and in the use of a wide field of associations.
D.B. Bogoyavlenskaya singles out intellectual activity as the main indicator of creative abilities, combining two components: cognitive (general mental abilities) and motivational. The criterion for the manifestation of creativity is the nature of the person's performance of the mental tasks offered to him.
I.V. Lvov believes that creativity is not a surge of emotions, it is inseparable from knowledge and skills, emotions accompany creativity, inspire human activity, increase the tone of its flow, the work of a human creator, give him strength. But only strict, proven knowledge and skills awaken the creative act.
Thus, in its most general form, the definition of creative abilities is as follows. Creativity is the individual psychological characteristics of the individual, which are related to the success of any activity, but are not limited to knowledge, skills, skills that have already been developed by the student.
Since the element of creativity can be present in any kind of human activity, it is fair to speak not only about artistic creativity, but also about technical creativity, mathematical creativity, and so on. Creativity is an amalgamation of many qualities. And the question of the components of human creativity is still open, although at the moment there are several hypotheses concerning this problem.
Many psychologists associate the ability to creative activity, primarily with the peculiarities of thinking. In particular, the famous American psychologist J. Gilford, who dealt with the problems of human intelligence, found that creative individuals are characterized by the so-called divergent thinking. People with this type of thinking, when solving a problem, do not concentrate all their efforts on finding the only correct solution, but begin to look for solutions in all possible directions in order to consider as many options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or form links between two elements that at first glance have nothing in common. The divergent way of thinking underlies creative thinking, which is characterized by the following main features:
1. Speed - the ability to express the maximum number of ideas (in this case what matters is not their quality, but their quantity).
2. Flexibility - the ability to express a wide variety of ideas.
3. Originality - the ability to generate new non-standard ideas (this can manifest itself in answers, decisions that do not coincide with generally accepted ones).
4. Completeness - the ability to improve your "product" or give it a finished look.
A well-known domestic researcher of the problem of creativity A.N. Luk, based on the biographies of prominent scientists, inventors, artists and musicians, highlights the following creative abilities:
1. The ability to see the problem where others do not see it.
2. The ability to collapse mental operations, replacing several concepts with one and using symbols that are more and more capacious in terms of information.
3. The ability to apply the skills acquired in solving one problem to solving another.
4. The ability to perceive reality as a whole, without splitting it into parts.
5. The ability to easily associate distant concepts.
6. The ability of memory to give out the right information at the right moment.
7. Flexibility of thinking.
8. The ability to choose one of the alternatives for solving a problem before it is tested.
9. The ability to incorporate newly perceived information into existing knowledge systems.
10. The ability to see things as they are, to distinguish what is observed from what is brought in by interpretation. Ease of generating ideas.
11. Creative imagination.
12. The ability to refine the details, to improve the original idea.
Candidates of Psychological Sciences V.T. Kudryavtsev and V. Sinelnikov, based on a wide historical and cultural material (the history of philosophy, social sciences, art, individual areas of practice), identified the following universal creative abilities that have developed in the process of human history
1. Imagination realism - a figurative grasp of some essential, general trend or pattern of development of an integral object, before a person has a clear idea about it and can enter it into a system of strict logical categories. The ability to see the whole before the parts.
2. Supra-situational - transformative nature of creative solutions, the ability to solve a problem not just choose from alternatives imposed from the outside, but independently create an alternative.
3. Experimentation - the ability to consciously and purposefully create conditions in which objects most clearly reveal their essence hidden in ordinary situations, as well as the ability to trace and analyze the features of the "behavior" of objects in these conditions.
Scientists and teachers involved in the development of programs and methods of creative education based on TRIZ (theory of inventive problem solving) and ARIZ (algorithm for solving inventive problems) believe that one of the components of a person’s creative potential is the following abilities:
1. The ability to take risks.
2. Divergent thinking.
3. Flexibility in thought and action.
4. Speed of thinking.
5. Ability to speak original ideas and invent new ones.
6. Rich imagination.
7. Perception of the ambiguity of things and phenomena.
8. High aesthetic values.
9. Developed intuition.
Analyzing the points of view presented above on the issue of the components of creative abilities, we can conclude that, despite the difference in approaches to their definition, researchers unanimously single out creative imagination and the quality of creative thinking as essential components of creative abilities.
The activation of creative activity is achieved, according to A. Osborne, due to the observance of four principles:
1) the principle of exclusion of criticism (you can express any thought without fear that it will be recognized as bad);
2) encouraging the most unbridled association (the wilder the idea, the better);
3) requirements that the number of proposed ideas be as large as possible;
4) recognition that the ideas expressed are not anyone's property, no one has the right to monopolize them; each participant has the right to combine the ideas expressed by others, modify them, “improve” and improve.
D.N. Druzhinin believes that in order to intensify creative activity, it is necessary:
1) the lack of regulation of subject activity, more precisely, the absence of a model of regulated behavior;
2) the presence of a positive model of creative behavior;
1. The ability to take risks.
2. Divergent thinking.
3) Flexibility in thinking and acting. creating conditions for imitating creative behavior and blocking manifestations of aggressive and deductive behavior;
4) social reinforcement of creative behavior.
The creative activity of the student increases his involvement in the educational process, contributes to the successful assimilation of knowledge, stimulates intellectual efforts, self-confidence, and fosters independence of views. M.N. Skatkin considers separate ways of activating creative activity:
1) problematic presentation of knowledge;
2) discussion;
3) research method;
4) creative work of students;
5) creating an atmosphere of collective creative activity in the classroom.
In order to successfully activate the creative activity of schoolchildren, the teacher needs to see the effectiveness and productivity of his work. To do this, it is necessary to monitor the dynamics of the manifestation of the creative activity of each child. The elements of creativity and interaction of the elements of reproduction in the activity of a schoolchild, as well as in the activity of a mature person, should be distinguished according to two characteristic features:
1) by the result (product) of activity;
2) according to the way it proceeds (process).
It is obvious that in educational activity the elements of students' creativity are manifested, first of all, in the peculiarities of its course, namely, the ability to see the problem, find new ways to solve specific practical and educational problems in non-standard situations.
Thus, we can conclude that creative activity is activated in a favorable atmosphere, with benevolent assessments from teachers, and encouragement of original statements. An important role is played by open-ended questions that encourage students to think, to search for a variety of answers to the same questions of the curriculum. It is even better if the students themselves are allowed to ask such questions and answer them.
Creative activity can also be stimulated through the implementation of interdisciplinary connections, through an introduction to an unusual hypothetical situation. In the same direction, questions work, when answering which it is necessary to extract from memory all the information available in it, to creatively apply them in the situation that has arisen.
Creative activity contributes to the development of creative abilities, an increase in the intellectual level.
Thus, by creativity we understand the totality of the properties and qualities of a person necessary for the successful implementation of creative activity, allowing in the process of it to perform the transformation of objects, phenomena, visual, sensual and mental images, to discover something new for oneself, to seek and make original, non-standard solutions .
1.2 Analysis of practical experience in the development of creative abilities of younger students
Improving the quality of mastering the knowledge of younger students is one of the most important tasks of the school. Many teachers achieve its implementation not due to the additional burden on students, but by improving the forms and methods of teaching. In solving this issue, teachers and methodologists attach great importance to the development of the interest of younger students in learning through the formation of creative abilities in the process of work. It is in the first years of education that, due to the psychological characteristics of children of primary school age, their creative abilities are actively developing. In particular, in order to solve the developmental learning goals, the primary school teacher A.V. Nikitina organizes the systematic, purposeful development and activation of creative activity in a system that meets the following requirements:
Cognitive tasks should be built on an interdisciplinary basis and contribute to the development of the mental properties of the individual (memory, attention, thinking, imagination);
Tasks, tasks should be selected taking into account the rational sequence of their presentation: from reproductive, aimed at updating existing knowledge, to partially exploratory, focused on mastering generalized methods of cognitive activity, and then to creative ones, which allow considering the studied phenomena from different angles;
The system of cognitive and creative tasks should lead to the formation of fluency of thinking, flexibility of mind, curiosity, the ability to put forward and develop hypotheses.
In accordance with these requirements, the classes of A.V. Nikitina include four successive stages:
1) warm-up;
2) development of creative thinking;
3) fulfillment of developing partially search tasks;
4) solving creative problems.
These assignments are given to the entire class. When they are done, only success is measured. Such tasks are not evaluative, but educational and developmental in nature. Classes are held at a fairly high pace, frontally. According to A.V. Nikitina, such work creates a spirit of competition, concentrates attention, develops the ability to quickly switch from one type to another.
Under the leadership of E.L. Yakovleva developed and tested a developmental program aimed at enhancing the creative activity of younger students. The main condition for creative work, in her opinion, is the organization of interaction between children and adults in accordance with the principles of humanistic psychology:
1) Admiration for every idea of a student is similar to admiration for the first steps of a child, involving:
a) positive reinforcement of all ideas and answers of the student;
b) the use of error as an opportunity for a new, unexpected look at something familiar;
c) maximum adaptation to all statements and actions of children.
2) Creation of a climate of mutual trust, non-estimation, acceptance of others, psychological security.
3) Ensuring independence in choice and decision-making, with the ability to independently control their own progress.
When studying under this program, the principles of developmental education (A.M. Matyushkin): problematic, dialogic, individualization were applied to the following content of the program: understanding one’s own and others’ thoughts, feelings and actions, interpersonal relationships and patterns of world development:
1. The use of intellectual tasks that can be solved by heuristic methods.
2. Exchange of opinions and questions between members of the group, between the group and the facilitator.
3. Acceptance various aspects creativity: oral and written responses, responses that have a literary or non-literary form, behavior and reactions to another person.
To equip children with the means of creative self-expression, this program uses a variety of material: literary works, problem situations, dramaturgy of situations invented by children, conflict situations from life and literature, which entail the ability to recognize and express their own emotional states, respond differently to one and the same situation.
Under the leadership of N.B. Shumanova developed and tested a program for the development of creative thinking of younger students in accordance with the requirements for the construction of educational programs for gifted children:
The global, fundamental nature of the topics and problems studied by students;
Interdisciplinary approach in formulating problems;
Integration of topics and problems related to different fields of knowledge;
Content saturation; focus on the development of productive, critical thinking and so on.
The specific content of the course is based on the materials of Russian and foreign history, the history of culture, literature, art, Russian and foreign natural science. The predominant teaching method is problem-dialogical as the most appropriate to the nature of the child's creative development.
Under the leadership of S.N. Chistyakova developed a program to develop the creative abilities of schoolchildren through the organization of group cooperation.
Primary school teacher O.V. Kubasova uses the possibilities of lessons to enhance the creative activity of younger students, adapting games and exercises to develop imagination and creative thinking on the material of school subjects and using them in the process of teaching the Russian language:
Various types of essays, presentations, creative dictations;
Construction (construction of sentences, verbal drawing, drawing up plans, words and sentences according to schemes);
Drawing up tables, diagrams;
- "discovery" of ways of word formation;
Analysis of literary works, in order to prove any assumption;
Distribution of offers;
Coming up with endings for stories;
Drawing up drawings using stencils;
Publication of newspapers, magazines, where the results of children's creativity are used (notes, interviews, reviews, essays, poems, fairy tales, drawings, rebuses, puzzles, crosswords and others);
Creation of filmstrips for literary works;
Staging, dramatization, "revival" of pictures;
Selection of characteristics (what can be a smile, gait, and so on);
Creation of visual, sound, taste images of letters;
Selection of synonyms, antonyms;
The study of phraseological turns.
As a result of the analysis of practical experience in activating the creative activity of younger schoolchildren, it was revealed, firstly, the significance of this problem for teachers, the interest of psychologists and methodologists in it; secondly, programs, courses, a series of tasks presented in the scientific and methodological literature and periodicals have been developed and tested on this problem; thirdly, the low psychological and pedagogical competence of teachers on this problem; fourthly, the lack of systematic, purposeful work to enhance the creative activity of younger students due to a lack of knowledge of techniques, means, forms of work in this direction; and as a result, low levels of development of creative activity of younger students.
1.3 Criteria and means of diagnosing the level of development of creative abilities of younger students
In order for the process of developing the creative abilities of younger students to be successful, knowledge about the levels of development of the creative abilities of students is necessary, since the choice of types of creativity should depend on the level at which the student is. For this purpose, diagnostics is used, which is carried out using various methods research (measuring tools). The study is carried out according to certain criteria. One of the objectives of this study was to determine the criteria, indicators and means of measuring the level of development of creative abilities of younger students. Based on the understanding of the term "creativity", which implies the student's desire to think in an original, non-standard way, to independently seek and make decisions, to show cognitive interest, to discover something new, unknown to the student, we have identified the following criteria for the level of development of creative abilities of younger students:
1. Cognitive criterion, which reveals the knowledge, ideas of younger students about creativity and creative abilities, understanding the essence of creative tasks.
2. Motivational - need criterion - characterizes the student's desire to prove himself as a creative person, the presence of interest in creative types of educational tasks.
3. Activity criterion - reveals the ability to originally perform tasks of a creative nature, activate the creative imagination of students, carry out the process of thinking outside the box, figuratively.
Each of the criteria has a system of indicators characterizing the manifestation of the studied qualities according to this criterion. Measurement of the degree of manifestation of indicators for each criterion is carried out using measuring instruments and certain research methods. Criteria, indicators and means of measuring the level of development of students' creative abilities, presented in Table 1.
Table 1
Criteria, indicators and means of measuring the level of development of students' creative abilities
| Criteria | Indicators | Measuring |
| cognitive | 1. Knowledge of the concept of "creativity" and operating with it. 2. The presence of ideas about creativity and creative abilities. |
Testing Method "Compositor". |
| Motivational-need | 1. Attitude towards creative exercises. 2. Development of creative abilities. 3. Striving for self-expression, originality. |
observation. Method "Make up a story about a non-existent animal" |
| activity | 1. Proposal of new solutions in the process of educational activities. 2. The manifestation of unconventional, creativity, originality of thinking. 3. Participation in collective creative activity |
Observation Method of problem situations. Method "Three words" |
In accordance with the selected criteria and indicators, we have characterized the levels of development of creative abilities of younger students in Table 2.
table 2
Levels of development of creative abilities of younger students
| Criteria | High level | Average level | Low level |
| cognitive | Has a sufficient level of knowledge, good speech development. | Has an insufficient level of knowledge, concepts, ideas; average speech development. | Has a low level of knowledge, fragmentary, poorly learned concepts, speech is poorly developed. |
| Motivational-need | The student seeks to show creative abilities, performs creative tasks with interest. | The student is not active enough, performs creative tasks under the supervision of the teacher, but can prove himself as a creative person. | The student is passive, does not seek to show creative abilities. |
| activity | Shows originality, imagination, independence in performing tasks. | Demonstrates originality, unconventionality in the performance of tasks. But often the help of a teacher is needed. | Cannot create or receive unusual images, solutions; refuses to comply creative tasks |
Characteristics of the levels of creative abilities of younger students
1.High level.
Students show initiative and independence of decisions, they have developed a habit of free self-expression. The child manifests observation, ingenuity, imagination, high speed of thinking. Students create something of their own, new, original, unlike anything else. The work of a teacher with students with a high level is to apply those techniques aimed at developing their very need for creative activity.
2. Average level.
It is typical for those students who perceive tasks quite consciously, work mostly independently, but offer insufficiently original solutions. The child is inquisitive and inquisitive, puts forward ideas, but does not show much creativity and interest in the proposed activity. The analysis of the work and its practical solution is only if the topic is interesting, and the activity is supported by strong-willed and intellectual efforts.
3.Low level.
Students at this level master the skills to acquire knowledge, master certain activities. They are passive. With difficulty, they are included in creative work, they expect causal pressure from the teacher. These students need a longer period of time to think and should not be interrupted or asked unexpected questions. All children's answers are stereotyped, there is no individuality, originality, independence. The child does not show initiative and attempts to non-traditional solutions.
After determining the levels of development of creative abilities, the first ascertaining experiment was carried out.
The purpose of the first ascertaining experiment: to identify the level of development of creative abilities of younger students in the control and experimental classes.
The experiment was carried out in the third grades of the Sidorov secondary school. Class 3a was defined as the control class, class 3b as the experimental class. Both classes consist of 20 students. Students are engaged in the system of developmental education L.V. Zankov and have approximately the same indicators of academic performance and general development. The ascertaining experiment was carried out in accordance with the criteria, indicators and means of measurement presented in table 1. The diagnostic data obtained during the first ascertaining experiment are presented in tables 3, 4, 5, in Fig. 1, 2,3.
Table 3
The distribution of students in the experimental and control classes according to the cognitive criterion (the first ascertaining experiment)
The results of the first ascertaining experiment show that students of both the control and experimental classes have the highest scores on the motivational-need criterion, which indicates the students' interest in performing creative tasks, the desire to prove themselves as a creative person.
In general, students in the control class have a slightly higher level of development of creative abilities than students in the experimental class. (Intermediate tables are in the appendix).
The data of the first ascertaining experiment indicate an insufficient level of development of students' creative abilities, which necessitates a formative experiment.
Conclusions on Chapter I
1) Creative activity is understood as such human activity, as a result of which something new is created - whether it is an object of the external world or a construction of thinking that leads to new knowledge about the world, or a feeling that reflects a new attitude to reality.
2) Creative activity and creative abilities are interrelated with each other, since abilities develop and form only in the process of activity, and are not innate human characteristics. Creative imagination and thinking are the highest and necessary human abilities in the process of learning activities. The educational process in elementary school has real opportunities for the development of creative abilities.
3) As a result of the analysis of practical experience in activating the creative activity of younger students, we have identified: the significance of this problem for teachers, the interest of psychologists and methodologists in it.
4) Reading lessons are the most frequent and favorable lessons from a methodological point of view, where you can significantly increase the level of development of creative abilities if you regularly use creative exercises.
5) We have identified the criteria and means of diagnosing the level of development of creative abilities of younger students. The results of the first ascertaining experiment showed that the majority of students in the control and experimental classes have an average level of development of creative abilities. The highest indicators for the motivational-need criterion, which indicates the formation of a positive attitude towards creativity and creative tasks, the development of creative abilities, the presence of a desire for self-realization, but insufficient manifestation of the desire to perform non-standard tasks. The data of the ascertaining experiment necessitate a formative experiment.
Chapter II. Organizational and pedagogical conditions for the development of creative abilities of younger students.
2.1. Development of creative abilities of younger students in the process of performing creative tasks
The traditional education system is concerned with giving students some amount of knowledge. But now it is not enough to memorize a certain amount of material. The main goal of learning should be the acquisition of a general strategy, you need to teach how to learn, one of the conditions for mastering such a strategy is the development of creative abilities. These words belong to the well-known Soviet psychologist who studied the psychology of creativity and creative abilities Luk A.N. Indeed, often the teacher requires from the student only the reproduction of certain knowledge given to him in finished form. Creative abilities develop, as we found out during the theoretical analysis of the works of Rubinshtein S.L., B.M. Teplova and Nemova R.S., can only be done when organizing truly creative activity.
R.S. Nemov, defining the essence of the process of developing abilities as a whole, put forward a number of requirements for activities that develop abilities, which are the conditions for their development. Especially among such conditions, Nemov R.S. highlighted the creative nature of the activity. It should be associated with the discovery of something new, the acquisition of new knowledge, which ensures interest in the activity. This condition for the development of creative abilities was singled out by Ya.A. Ponomarev in his work "The Psychology of Creativity".
In order for students not to lose interest in activities, it is necessary to remember that the younger student seeks to solve problems that are difficult for him. This will help us to realize the second condition for developing activities put forward by Nemov R.S. It lies in the fact that the activity should be as difficult as possible, but doable, or, in other words, the activity should be located in the zone of the potential development of the child.
Subject to this condition, it is necessary to increase their complexity from time to time when setting creative tasks, or, as B.D. Bogoyavlenskaya, adhere to the "principle of the spiral". It is possible to realize this principle only during long-term work with children of a typical nature, for example, when setting the themes of essays.
one more important condition for the development of creative abilities, Ya. A. Ponomarev called the development of creative activity, and not teaching only technical skills and abilities. If these conditions are not met, as the scientist emphasized, many qualities necessary for a creative person - artistic taste, the ability and desire to empathize, the desire for something new, a sense of beauty are among the redundant, superfluous. To overcome this, it is necessary to develop the desire to communicate with peers, conditioned by the age characteristics of the development of the personality of primary school age, directing it to the desire to communicate through the results of creativity.
The best in relation to primary school age is “a specially organized creative activity in the process of communication”, which subjectively, from the point of view of a primary school student, looks like an activity for the practical achievement of a socially significant result. For this, it is important that the child has something to say to the participants in the communication, so that he really conveys information, for this it is necessary to find a recipient of communication. In our case, the recipient is the class team and the teacher, and at the school level, this is the school team, and so on.
The traditional objective conditions for the emergence of students' creative activity in the process of learning are provided when the principle of problematicity is implemented in the learning process in a modern school. Problem situations that arise as a result of encouraging schoolchildren to put forward hypotheses, preliminary conclusions, and generalizations have been widely used in teaching practice. Being a complex method of mental activity, generalization implies the ability to analyze phenomena, highlight the main thing, abstract, compare, evaluate, define concepts.
The use of problem situations in the educational process makes it possible to form a certain cognitive need in students, but also provides the necessary focus of thought on an independent solution to the problem that has arisen. Thus, the creation of problem situations in the learning process ensures the constant inclusion of students in independent search activities aimed at resolving emerging problems, which inevitably leads to the development of a desire for knowledge and creative activity of students. Answering a problematic question or solving a problematic situation requires the child to derive such knowledge on the basis of what he has, which he did not yet possess, i.e. creative problem solving.
But not every problematic situation, the question is a creative task. So, for example, the simplest problem situation may be a choice of two or more possibilities. And only when a problem situation requires a creative solution can it become a creative task. When studying literature, the creation of a problem situation can be achieved by asking questions that require students to make a conscious choice. So, creative abilities develop and manifest themselves in the process of creative activity, the essence of the child's creative activity - the student creates something new only for himself, but does not create something new for everyone. Thus, children's creativity is the implementation of the process of transferring the experience of creative activity. In order to acquire it, the child "needs to find himself in a situation that requires the direct implementation of similar activities."
So, in order to learn creative activity, and in the process of such learning, the creative abilities of students will naturally develop, there is no other way than the practical solution of creative problems, this requires the child to have creative experience and, at the same time, contributes to its acquisition.
2.2 Literary creativity of schoolchildren as a condition for the development of creative abilities
These are children's speech exercises based on active imitation. On the one hand, through oral retelling and written presentation, the student's speech is enriched, he, as it were, takes lessons from the writer; on the other hand, the student himself builds sentences and text, shows initiative and activity in generating speech.
It is difficult to imagine a lesson without a retelling, even a small one: the student retells what he has read, learned at home, conveys the content of books of extracurricular, free reading. The student retells the tasks for exercises in the Russian language, conveys the content of the mathematical problem, retells the rule in his own words. Constant retelling strengthens memory, trains the mechanisms of speaking. A variety of types of retelling, developed by experience, brings animation to the lessons: a retelling is known that is close to the text of the sample (detailed), selective, compressed - with several degrees of compression, retelling with a change in the face of the narrator (sample in the first person - retelling in the third), from the person one of the characters (there is an imaginary story from the “face” of an inanimate object), a dramatized retelling - in faces, a retelling with creative additions and changes, a retelling based on key words, in connection with pictures - illustrations, a retelling-characteristic, a retelling - a description of the exposition (places actions); retelling - oral drawing of pictures, illustrations, etc.
Presentation (retelling) is one of the creative methods of developing students' speech. It is assumed that the student, listening to or reading a story intended for written presentation, must assimilate the thought and convey it in his own words. The presentation should sound like a live speech of the student. Language means are assimilated when reading, in conversations, in the course of text analysis, they become their own for the student, and in the process of compiling their own text, the student does not strain, remembering the sample verbatim, but builds the text himself, conveys the content of the thought. In this work, independence increases, elements of creativity are born in the course of reproduction. The retelling (presentation) reflects the feelings of the student, his desire to interest the audience. If he “entered the role”, empathizes with the heroes of the story, if his feeling sounded in the retelling, then the creative level of his speech is high: the retelling turns into a story being created, not memorized. Creative retellings and presentations are those retellings and presentations in which the personal, creative moment becomes the leading and determining one, it is foreseen in advance, it concerns both content and form. This is a change in the face of the narrator, the introduction of verbal pictures into the story - the so-called verbal drawing, this is an imaginary screen adaptation, the introduction of new scenes, facts, characters into the plot; finally, it is dramatization, staging, theatrical embodiment. A variant of creative retelling is the transfer of content on behalf of one of the characters, for example, when retelling the fairy tale "The Gray Sheika" by D.N. Mamin-Sibiryak from the face of a fox. After all, the fox could not know what happened before her first arrival to the lake, as well as the further fate of the duck. “The story of the dogwood stick in its own presentation” (Tikhomirov D.I. What and how to teach in the lessons of the Russian language. - M., 1883) is a new fantastic story with fictional characters, with the adventures of the owner of this dogwood stick. In other words, some scenes will disappear, others can be presented in a completely new way, and some are invented anew, based on creative imagination. There will also be changes in the language, it should reflect the character of the fox, which so wanted to eat the Gray Neck, and Vanka Zhukov will tell his story, introducing into speech the words and turns of speech characteristic of a village boy.
The study of the native language and especially literature gradually introduces students into the world of linguistic creativity: this includes keeping a diary, and correspondence, and describing pictures of nature, even if on the instructions of a teacher, and drawing pictures, and reciting poems, and staging, publishing newspapers and magazines, composing plays, this is the research activity of students in grammar, the history of words, etc. In other words, creativity is not only poetry; Perhaps the composition of poetry is not always the pinnacle of creativity, but rhythmic and rhymed speech immediately stands out from prose exercises. Literary attempts of children most often go beyond the lessons, they are associated with extracurricular activities, circle work, and clubs. In the modern education system, the following forms of organizing creative work such as an essay or close to it are known:
a) independent creativity at home, sometimes hidden: diaries, records of events or something interesting, important for schoolchildren, writing poetry, etc. This is all done without the teacher’s tasks, and it happens that the teacher finds out about the student’s hidden creative activity years later. On this basis, this form of the creative life of the individual is not only underestimated, but even condemned. This is unfair: a child, even more than an adult, has the right to his secret, to non-standard behavior;
b) circles organized by the school and other institutions: literary and creative circles for studying the native language, theatrical, children's clubs, literary associations, school theater, various holidays, matinees, meetings, joint trips; they allow communication in free conditions;
c) various competitions, olympiads, competitions: a competition of riddles, poetic congratulations for the New Year, by September 1. Competitions are announced within the framework of the school, the entire city, even within the entire country. The winners are awarded the titles of laureates, as in adults;
d) publication of newspapers and magazines of children's creativity. These publications are now being published in hundreds of gymnasiums and ordinary secondary schools, and quite often an independent magazine is published for elementary grades.
Let's give some examples - from practice.
Riddles competition.
Making riddles.
A start has been given. Mokhnatenka, mustachioed ...
The children continue. Lies in the sun
He squints.
Another offers. Her mice are afraid.
Third. She has one concern:
Go hunting at night!
Lies round, golden
I opened my mouth as much as I could
Took a big bite.
I thought it would be sweet
It turned out sour, nasty!
Piggy bank of poetic images. Someone writes down songs, someone writes aphorisms, and someone writes excerpts from their favorite poems. It is necessary that the passage be small, contain an image. Here is the soundtrack:
Wave upon wave ran,
The wave drove the wave.
Smooth, rhythmic sound, the sound [l] is repeated.
Here is another auditory image, “rumbling”:
When the first spring thunder
As if frolicking and playing,
Black raven in the snowy dusk.
Peace to the aspens, which, spreading its branches,
We looked into the pink water.
(S. Yesenin.)
The mountain ash lit up with a red brush. Leaves were falling. I was born...
(M. Tsvetaeva.)
To poetry - through a joke. Having created an atmosphere of looseness in the classroom, teacher R.V. Kelina (Samara) suggested the first line to the children, i.e., in essence, suggested the theme and rhythm:
Grandma just fell asleep...
And received a collection of funny poems:
Grandma just fell asleep
Murzik quickly got off the chair,
Started walking around the room
Jump, run, wake everyone up.
Morning has finally come
The fugitive walked a lot,
The naughty trudged home
Dirty, wet and lame.
The first snow fell to the ground
All at once it became light!
It is fluffy, bright, white,
It lies lightly on the ground.
General advice to the teacher in connection with the first attempts of students in literary work: do not give any assignments, no reproaches, and even more so - humiliating remarks; complete freedom of creative attempts; create an atmosphere of positive emotions, a good mood, you can read samples, tell children about the early poems of M.Yu. Lermontov, S. Yesenina, A.S. Pushkin, etc.; assistance to provide mainly individual; L.N. Tolstoy allowed help in choosing a topic, in compiling individual phrases, in writing down a text - in particular, in spelling; especially appreciate a good image, a well-chosen word, humor, the ability to notice the details of what is being described; perform some organizational functions: help in organizing competitions, matinees, discussions, publishing a magazine and, of course, in editing.
2.3 Organization of creative activity of younger students for the development of creative abilities
1. Compose a story from several texts on a given topic.
2. Retell the text and continue it by adding new facts, events from the life of the characters.
3. Change the person, tense of verbs when transferring the content of the text.
4. Compose a story by analogy with what you read based on your personal experience.
5. Compose or continue a story based on a picture or a series of pictures illustrating what has been read.
6. Compose a story based on a picture that makes it possible to compare what is read and what is shown in the picture.
7. Compose a story based on personal observations of pictures of nature that are close to what you read.
When conducting a formative experiment, the purpose of which was to develop the creative abilities of younger students, the students were given the following task - to combine similar content that is available in several texts. To perform such a retelling, the guys must carry out a complex creative mental operation - synthesis. Under the synthesis of learning is understood the association, linking, establishing relationships between the acquired knowledge. We turn to the characteristics of the implementation of exercises of this type of retelling.
The students are given the task of compiling one story out of two or three stories they read. This work is carried out after the corresponding preparatory conversation, in which the teacher puts the children in front of the need to correlate parts of texts similar in content according to the plan. For example,
1. Read three stories: the story of Skrebitsky and Chaplina "Look out the window", "What did the woodpecker feed on in winter", "Sparrow".
2. Conversation on the text to identify factual and contextual information. Identification of author's positions in texts.
3. Finding common in the content of the stories read.
4. Answers to questions for the purpose of language training.
5. Formulation of the task: compose a story "How wintering birds get their own food."
6. Structural and compositional work (story plan):
Birds are "winterers".
Bird food in winter.
Getting food.
7. Role play. Image of birds.
The work on the retelling became more difficult. The story is carried out not only on the basis of read prose, but also poetic texts. In this regard, students are tasked not only to combine what they read from different texts, but to compose a story on a specific topic based on what they read in different works. This task, of course, is more creative and therefore makes much more demands on the mental activity of students. As with any synthesis task, the student must, in order to compose this story, realize and hold in his mind general theme, around which he needs to group the material from the texts. For example,
1. Read F. Tyutchev's poem "Spring Thunderstorm", "Spring Noise", M. Isakovsky's poem "Spring".
2. Based on these poems, make up a story on the theme "Spring".
3. Drawing up a plan for a future story:
A) the first spring thunder,
B) nature is awakening,
C) people rejoice in spring.
This task is not designed to reproduce the text, but to develop its content. Of course, this improvisation was the fruit of the creative imagination of children and must have real foundations. In this regard, it is necessary to involve sensual life and reader's experience in the conversation. The wider the experience, the greater the scope of creative imagination.
As a formative experiment in the experimental 3 "A" class, we carried out purposeful work to develop the creative abilities of younger students. After that, 2 ascertaining experiments were carried out. The purpose of the second ascertaining experiment: to identify changes in the level of development of creative abilities of students in the control and experimental classes.
In the second ascertaining experiment, the measuring instruments presented in paragraph 1.3 were used. to develop the creative abilities of students at the lessons of literary reading, a number of lessons were held (Appendix). The data obtained during the second ascertaining experiment are presented in tables 6.7, in Fig. 4.5.
Table 6
Distribution of students in the control and experimental classes according to the level of formation of creative abilities (the second ascertaining experiment)
Fig. 4 Distribution of students in the control and experimental classes in the second ascertaining experiment
Table 7
Distribution of students in the experimental class according to the level of formation of creative abilities
(first and second ascertaining experiment)
Analysis of the results of the second stating
his experiment in the control and experimental classes showed that the level of development of the creative abilities of younger students in the control class, where the formative experiment was not conducted, remained the same. The experimental class showed higher results:
A low level of development of creative abilities in the experimental class was not revealed by any criterion, while in the control class it ranged from 15 to 20% according to various criteria.
In general, the level of development of creative abilities of students in the experimental class is significantly higher than that of students in the control class. (Annex 6)
The data of the second ascertaining experiment indicate that significant changes occurred in the level of development of the creative abilities of students in the experimental class, due to the formative experiment conducted in the class.
Conclusions on Chapter II
In the course of the study, we have identified the most effective conditions for the development of creative abilities of younger students in reading lessons. Based on the work carried out, the following conclusions can be drawn:
1) In our formative experiment, we used such means of developing creative abilities as creative tasks in reading lessons, creative retelling, exercises aimed at developing the literary creativity of schoolchildren (creating newspapers, magazines, almanacs, writing poems, keeping personal diaries).
2) One of the important ways to develop creative abilities in elementary school is to include younger students in joint creative activities outside of school hours. The participation of schoolchildren in creative activities at extracurricular activities most clearly demonstrates the level of interest in performing creative tasks. In our experiment, we implemented this method through the writing activity of children (composing riddles, poems).
3) Analysis of the results of the second ascertaining experiment in the control and experimental class showed that the level of development of creative abilities of younger students in the control class, where the formative experiment was not conducted, remained the same. In general, the level of development of creative abilities of students in the experimental class is significantly higher than that of students in the control class. The data of the second ascertaining experiment indicate that significant changes occurred in the level of development of the creative abilities of students in the experimental class, due to the formative experiment conducted in the class.
Conclusion
Having studied the theoretical foundations of the formation of creative abilities of younger students and identified the pedagogical conditions for the formation, we made the following conclusions:
1) By creative activity, we mean such human activity, as a result of which something new is created - be it an object of the external world or a construction of thinking that leads to new knowledge about the world, or a feeling that reflects a new attitude to reality.
2) As a result of the analysis of the practical experience of teachers - practitioners, scientific and methodological literature, it can be concluded that the educational process in primary school has real opportunities for developing creative abilities and enhancing the creative activity of younger students.
3) Consideration of the conditions for the development of creative abilities of younger students allows us to identify ways to implement their development in the process of conducting reading lessons. The first is the organization of the educational process by setting creative educational tasks and by creating pedagogical situations of a creative nature; as well as the organization of independent creative work of primary school students. And the second way is through the involvement of students in the study of literature to artistic and creative activities.
4) We have determined the criteria for the development of creative abilities (cognitive, motivational-need, activity), characterized the levels of development in accordance with the criteria and selected diagnostic tools. The results obtained by us after conducting experiments 1 and 2 showed that as a result of using creative tasks in reading lessons, the number of children with a low level in the experimental class decreased, and the number of children with a high and medium level increased, there were no changes in the control class. Comparing the results of the two classes, we can conclude that there is a positive trend in the growth of the level of creative abilities in the experimental class.
Thus, the goal of our work has been achieved, the tasks have been solved, the conditions put forward in the hypothesis have been confirmed.
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36) Shumakova N.B., Shcheblanova B.I., Shcherbo N.P. The study of creative giftedness using P. Torrens tests in younger schoolchildren [Text] // Questions of Psychology - 1991.- No. 1.- P. 27-32.
37) Shumilin A.T. The process of creativity of schoolchildren [Text] - M .: Education, 1990.
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41) Yakovleva E. L. Psychological conditions for the development of creative potential in children of school age [Text] // Issues of psychology - 1994.- No. 5-S.37-42.
42) Yakovleva E.L. Development of the creative potential of the student's personality [Text] // Issues of Psychology - 1999.- No. 3.- P. 28-34
43) Yanovskaya M.G. Creative play in the education of a younger student [Text] - M .: Education, 1974.
Applications
Attachment 1
Method "Compositor"
This is a test - a game for assessing non-standard creative thinking, ingenuity, intelligence of a student. The child is given a word consisting of a certain number of letters. Words are made from this word. This job takes 5 minutes.
Words must be common nouns in the singular, nominative case. The word is nonsense.
The signs by which children's work is evaluated: the originality of words, the number of letters, the speed of inventing.
For each of these characteristics, a child can receive from 2 to 0 points in accordance with the criteria:
Originality of words: 2 - words are unusual, 1 - words are simple, 0 - a meaningless set of words.
Number of letters: 2 - the largest number of letters, all words are named; 1 - not all reserves are used; 0 - task failed. Thinking speed: 2-2 minutes, 1-5 minutes. 0 - more than 5 minutes. Accordingly, a high level - 6 points, an average - 5-4 points, a low level - 3-1 points.
Appendix 2
Method "Make up a story about a non-existent animal"
The child is given a sheet of paper and is invited to come up with a story about an unusual fantastic animal, that is, about one that has never existed anywhere before and does not exist (you cannot use characters from fairy tales and cartoons). You have 10 minutes to complete the task. The quality of the story is evaluated according to the criteria and a conclusion is made about the general level of development of creative abilities.
8-10 points - in the allotted time, the child came up with and wrote something original and unusual, emotional and colorful.
5-7 points - the child came up with something new, that in general it is not new and carries obvious elements of creative imagination and makes a certain emotional impression on the listener, the details are spelled out in an average way.
0-4 points - the child wrote something simple, unoriginal, the details are poorly worked out.
Appendix 3
Method "Three words"
This is a test game for assessing creative imagination, logical thinking, vocabulary, general development. The students were offered three words and asked them to write the largest number of meaningful phrases as soon as possible, so that they included all three words, and together they would make up a meaningful story.
Words for work: birch, bear, hunter.
Evaluation of results:
5 points - a witty, original phrase (example: a bear was watching a hunter from a birch);
4 points - the correct logical combination of words, but all three words are used in each phrase (the hunter hid behind a birch, was waiting for a bear);
3 points - a banal phrase (the hunter shot at a bear, hit a birch);
2 points - only two words have a logical connection (birch trees grew in the forest, a hunter killed a bear in the forest);
1 point - a meaningless combination of words ( White birch, cheerful hunter, clumsy bear).
Conclusion about the level of development: 5-4 points - high; 3 - medium; 2-1 - low
Appendix 4
Summaries of the lessons conducted at the stage of the second ascertaining experiment
Lesson outline. Folklore. Bylina "Ilya Muromets and the Nightingale the Robber"
Type of lesson - familiarization with new material.
In this lesson, active forms of student activity were used, the following were used: modeling techniques, differentiated and individual work with children, information technology, group work.
Lesson Objectives:
to teach how to work with a work, to form the skills of a full-fledged perception and analysis of a work;
learn how to plan a work using modeling.
Lesson objectives:
Educational:
introduce the concept of the epic as a genre of folklore and its features (melodiousness, repetitions, stable epithets)
to introduce children to the epic “Ilya Muromets and the Nightingale the Robber”;
identify the artistic features of epics;
Developing:
develop thinking, imagination, memory, holistic perception, observation, the ability to compare and analyze;
form literary ideas
Educational:
to cultivate love for oral folk art, for Russian literature, the education of patriotic feelings and moral qualities of the individual
Planned achievements of students in the lesson:
name epics correctly and highlight their features
compare heroes - positive and negative
retell bylinas and individual episodes according to the plan, read expressively the texts of epics or episodes from them (description of epic heroes, their exploits and miracles)
compare epics about the exploits of the same heroes, characterize the features of the speech of storytellers (epics).
Equipment:
computer, presentation of the lesson, CD-ROM "Masterpieces of Russian Painting", a tape recorder with a recording of the epic "Ilya Muromets and the Nightingale the Robber", reproductions of paintings by V. M. Vasnetsov
Visual range:
a selection of illustrations by the artist N. Vorobyov for epics
interactive tour using the CD-ROM “Masterpieces of Russian Painting”
feature film “Ilya Muromets and the Nightingale the Robber” (excerpt)
Sound range:
A. Muravlev “Concerto for a duet of gusli with an orchestra of folk instruments”, epic
R. Gliere "Symphony No. 3" "Ilya Muromets"
During the classes
I. Generalization of existing knowledge about oral folk art.
1. The guys are invited to work with a diagram in the center of which the word “Folklore” is placed, and from it the arrows indicate various genres of folklore (tales, nursery rhymes, riddles, fables, tongue twisters, proverbs.)
It is necessary to restore the missing element - epics.
Slide number 1.
Thus, we bring the children to the topic of the lesson - epic.
At this stage, there is a generalization of existing knowledge.
2. Sounds “Concert for a duet of gusli with an orchestra of folk instruments”, bylina A. Muravlev in order to create an emotional mood and prepare for the perception of the topic.
3. To activate cognitive processes, children are asked the question: What does the word “epic” mean? (children's answers).
After that comes the work with the slide.
II. Learning new material.
1. Slide number 2.
The word "Bylina" means "true story", that is, a true story. Previously, epics were sung to the harp, so the performance has a smooth and melodious narration.
In total, there are more than a hundred epics, and they came to us from distant times, were passed down by people from mouth to mouth. And for us, they were saved by the collectors of epics, who traveled through cities and villages and wrote them down from simple peasant storytellers.
2. Slide number 3 (image of a hero)
The main characters of epics are folk heroes - heroes. Bogatyrs love their native land, stand guard over its borders, in a moment of danger come to the aid of their people, save them from enslavement and humiliation. They are the embodiment of the ideal of a courageous, honest person devoted to the Motherland and people. He is not afraid of the innumerable forces of the enemy, he is not afraid even of death itself!
Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich, Danube-in-law, Vasily Kazimirovich, Sukhman - cause us admiration, joy, faith in the forces of the people.
So, epics are, first of all, heroic folk songs about the exploits of strong, mighty defenders of the Russian land.
The most famous epics were “Dobrynya and the Snake”, “Alyosha Popovich and Tugarin Zmeevich”, “About Dobrynya Nikitich and the Serpent Gorynych”, “Ilya Muromets and the Nightingale the Robber” and many others.
Today we will meet one of them.
3. Listening to the epic “Ilya Muromets and the Nightingale the Robber”
(listening to an audio cassette with an epic)
4. Analysis of the text of the epic, answers to questions:
What feelings did the heroes of the epic evoke in you?
How did you imagine Ilya of Muromets and the Nightingale the Robber?
Describe the appearance of the hero and the Nightingale the Robber.
Why did people sing the exploits of Ilya Muromets? Which?
Vocabulary in the classroom.
Gat - flooring made of logs or brushwood for driving through a swamp
Rawhide belts - durable belts made from raw animal skin
Tyn - fence
Chambers of princes - a large rich room
Kaftan - men's outerwear
It’s enough for you to cry fathers-mothers - to make you shed tears, to grieve
Druzhina - princely army in Ancient Russia
5. - Reading bylina by children in a chain after the teacher.
Subsequent analysis: (group and individual form of work) 1 group (weak) 2 group (medium) 3 group (strong)
Check: children read the passage. Check: children read the passage. Show the completed model to the whole class
Individual task for the student:
Tell us about the main characters of the epic and convey your attitude to each
6. Now look at how these characters are presented in the movie and answer the question:
Did the filmmakers manage to convey the character and appearance of the heroes of the epic?
What difference did you see?
viewing an excerpt from the movie “Ilya Muromets” (the fight between Ilya Muromets and the nightingale the robber)
III. Completion of tasks in a notebook (tasks are given differentially)
1 group (weak)
Reread the first paragraph. Find words that speak of magic power horse of Ilya Muromets.
Ilya Muromets gallops at full speed. Burushka Kosmatushka jumps from mountain to mountain, jumps rivers-lakes, flies over hills.
2 group (middle)
2) Pay attention to the names of the epic characters. What does the author call them? write down
3 group (strong)
3) Find in the text and read the paragraph and underline the words that speak of the heroic strength of Ilya Muromets.
Ilya jumped off his horse. He supports Burushka with his left hand, and with his right hand tears oaks with roots, lays oak floorings through the swamp. Thirty versts Ilya laid the gati - until now, good people drive along it.
Work with the whole class.
4) Find a paragraph that talks about the power of the Nightingale - the robber. Write in the missing words.
Yes, as he whistles like a nightingale, growls like an animal, hisses like a snake, so the whole earth trembled, hundred-year-old oaks swayed, flowers crumbled, the grass died. Burushka-Kosmatushka fell to his knees.
Independent work of children.
Checking completed work.
8. Crossword
1) The village where I. Muromets lived. (Karacharovo)
2) The city from under which the hero came. (Murom)
3) The river where the Nightingale the Robber lived. (Currant)
4) The name of the horse Ilya Muromets. (Burushka)
5) The name of the father of the Nightingale the Robber. (Rahman)
9. Literary dictation
Bylina, hero, epic hero, Russia, Ilya Muromets, Burushka-Kosmatushka, Nightingale the Robber, Karacharovo village, Smorodinaya river
IV. Summary of the lesson. Interactive tour. Slide number 5
Mu Homework:
artistic retelling of the epic
draw heroic armor
Summary of the lesson "Oral folk art of the Russian people"
Type of lesson: generalization and systematization of knowledge.
Lesson form: lesson-game with competition elements.
Lesson Objectives:
1. Educational:
to consolidate the concepts of oral folk art;
talk about genres: “riddles”, “proverbs”, “patter tongues”, “fables”, “counters”, “rhymes”, “fairy tales”, “epics”;
2. Developing:
development of the ability to carefully, thoughtfully perceive a literary text;
development of competent oral speech;
development of expressive reading skills
3. Educational:
fostering a careful attitude to oral folk art;
education of moral qualities.
Equipment: an exhibition of children's drawings, a flower, magnets, illustrations for fairy tales, a reproduction of V. Vasnetsov's painting "Bogatyrs", drawings of children about the family, a textbook by L.A. Efrosinina, M.I. Omorokova “Literary reading” Grade 3, part 1, workbook No. 1, Ozhegov’s explanatory dictionary.
Benefits: texts of nursery rhymes, fables.
Lesson plan:
1. Introductory word of the teacher.
2. Students perform various tasks and exercises (in the form of a game).
3. The result of the lesson.
4. Homework.
During the classes
1. Organizational moment. Introduction by the teacher. Communication to students of the purpose of the upcoming work and the form of the lesson.
Today we have an unusual lesson
On it we will sum up the work.
On the genres of oral folk
Let's talk creativity
Let's repeat what we have read.
Whether in the garden, in the garden
The girl was walking
Whether in the garden, in the garden
Watered the flowers.
One flower plucked
And handed it to us in class.
2. The topic of the lesson.
The petals on our flower are not simple, but magical. We must help this fabulous living flower of Russian folklore bloom. Let's try guys? And for this we need to complete tasks.
Remember, we said: literature is what is written in letters. A letter is a letter. Literary work is written, and folklore affects. So, who can explain what “oral creativity of the Russian people” means?
(Children speak in their own words). Now find the definition of oral folk art in the textbook and read it. (page 4)
Every nation has works of oral folk art (folklore). This is his living memory, passed down from generation to generation, from grandfathers to grandchildren. These works reflected the life and customs of the people, their views on the world and man, ideas about good and evil.
Teacher. Wonderful! Today we will continue the conversation about oral folk art, about its various genres. Let's divide into teams: 1 row - 1 team, 2 row - 2 team, 3 row - 3 team. At the end of the lesson, let's summarize: who is the most erudite on this topic? (1 minute.)
So, 1 task. Who can say what a proverb is? Now find and read the definition of the proverb in the textbook (p. 25)
Name and explain proverbs about family, parents and children. At home, you had to draw your family and pick up proverbs about the family. Children read prepared proverbs and explain their meaning.
“Children are joy, children are grief.” Parents love their children, but we do not always obey them, and they get upset and upset because of us.
"A mother's heart warms better than the sun." Mom will always support, help, tell. She is always the best friend.
"The whole family is together - and the soul is in place."
"Not the father - the mother who gave birth, but the one who made him drunk and taught good."
Each team names their proverbs and explains them.
Now read the proverb written on the board and explain it.
“Whoever is literate is not the abyss.”
You have completed the task and one petal opens. (1 minute.)
(Comment. Identification of students' reading experience, individual survey and evaluation of students' answers, ability to work with textbooks and library books. Children bring books to class from the city library, school or home. I try to mark such children, stimulate their cognitive activity).
2 task.
Let's clap and say our favorite tongue twister "Bull, bull, dumb-mouthed, dumb-mouthed bull, the bull had a white lip was stupid." Now let's try to say it faster. Why do we need shortcuts? We train our tongue to pronounce all sounds clearly and correctly.
Task for each row: give your own example of a tongue twister.
Well done! So the second petal of our magic flower opens.
3 task.
One two three four five -
Calculate guys
What are in the circle here.
What is the name of this genre of folk art? Children's answers.
Each team must give an example of their own rhyme.
Well done boys! Here comes the next petal.
4 task.
You have text printed on the sheets. You must read it in an undertone, then determine the genre.
Three-ta-ta, three-ta-ta!
A cat married a cat.
The cat is walking on the bench.
And the kitty - on the bench,
Catches a cat by paws:
Oh you kitty, kitty
Cool little one!
Play with me cat
With Masha, a young cat!
These are fun. What do you think, what are the jokes for? A nursery rhyme is a song or rhyme to play with young children. These are games with fingers, arms and legs.
Each row should give an example of its nursery rhyme.
While the next petal opens, we will spend a physical education session with the help of nursery rhymes.
The sparrow flew, flew.
He flew, he flew young.
Over the blue sea.
I saw, I saw a sparrow.
I saw, I saw young
How girls walk
And the girls walk like this
And like this, and like this,
This is how the girls go.
The sparrow flew, flew.
I flew, I flew young
Over the blue sea.
I saw, I saw, sparrow,
I saw, I saw, young,
How do guys walk.
And the boys walk like this
And like this, and like this,
That's how the guys go.
(Comment. Identification of the reading experience of students, individual survey and evaluation of students' answers, the ability to work with additional literature and educational books. This form of work allows each child to show his level of erudition and literary development, test himself, comprehend and understand something).
5 task.
Guys, who can say what is fiction?
Reality is what was, the truth. And fiction is fiction. This is something that does not happen, did not exist.
A merchant walked past the market,
tripped over a basket
And fell into a hole - bang!
Squashed forty flies.
Try to come up with your own fantasy. I give you a rhyme: a jackdaw is a stick.
Children's answers.
Well done guys, you're doing great. You completed this task as well, and therefore we have another petal open.
(Comment. The lesson continued the creative work of students, which began in the lessons of studying Russian folk art. Fictions were composed in the class, in groups and individually, and homemade books were designed in fine arts lessons. This form of work allows each child to show their level of erudition and literary development).
6 task.
What it is? An intricate description of an object or phenomenon, compiled with the aim of testing the quick wit, observation and ingenuity of a person.
It's a mystery.
Then for you guys
One riddle.
1 team.
Not a rider, but with spurs,
Not a watchman, but wakes everyone up. (rooster)
And how did you guess?
The rooster has growths on its paws, like spurs, and it wakes everyone up in the morning.
2 team.
Not a tailor, but all my life
Walks with needles. (hedgehog)
And how did you guess?
He has a lot of needles.
3 team.
Two bellies, four ears (cushion)
Explain how you determined it was a pillow.
A riddle, a proverb, a tongue twister, a nursery rhyme, fables, a counting rhyme, a song are forms of folklore.
Here is the next petal opened.
7 task.
Guys, who can say what an epic is? Children's answers.
But what is the definition of the epic given by Ozhegov's explanatory dictionary. (read out)
Bylina is a work of Russian folklore about the exploits of heroes who lived in the distant past. They fought with evil forces, with the enemies of the Russian land.
What epic heroic heroes do you know? Read the passage on page 20 and name the epic.
You have the names of various heroes printed on the leaves. You read carefully and select the names of only fabulous heroes and underline them.
Ilya Muromets, Moroz Ivanovich, Christopher Robin, Alyosha Popovich, Karabas Barabas, Dobrynya Nikitich.
Children's answers
Demonstration of a reproduction of the painting by V. M. Vasnetsov “Heroes”.
The great Russian artist Viktor Mikhailovich Vasnetsov was very fond of legends about heroes, who he listened to from his father, from the old people in the village where he lived. The artist devoted two decades to the painting “Bogatyrs”. To create images of heroes, the artist studied epics, the history of Ancient Russia, got acquainted with samples of ancient weapons and clothes of our ancestors in museums. In the center of the picture we see Ilya Muromets. To his left is Dobrynya Nikitich, to the right is the youngest of the heroes - Alyosha Popovich. Now this picture is stored in the Tretyakov Gallery in the Vasnetsov Hall.
Here's another petal open.
(Comment. We learned to work with the images of characters, the text of the work, practicing the ability to read “aloud” and “silently.” Setting a learning task is the goal of working in a textbook, the ability to navigate in a textbook and in a notebook, independently choose the operation of working with a textbook, working out search reading , expressive reading Work on leaflets - frontal verification of knowledge gained.)
8 task.
What is a fairy tale? Children's answers.
Find the definition of a fairy tale in the textbook and read it. Page 28.
This is an oral story about something unusual, which is hard to believe, about incredible, fantastic. Each nation has its own fairy tales, which are passed from the elders to the younger. When we open a book with folk tales, we will not see the names of the authors in it, because the author folk tales- people. But there are fairy tales that are created by writers. Such fairy tales are called literary or author's. These are the tales of A. S. Pushkin, S. Ya. Marshak, K. I. Chukovsky and other writers. (page 28)
You drew pictures for the fairy tales that we have already met. Can you please tell me which fairy tales you drew illustrations for?
Can you name the fairy tales whose main characters are depicted in these illustrations.
Demonstrate illustrations, children's answers.
Well done boys! And who among you can say what a saying is? A saying is a playful introduction or ending to a fairy tale.
Find and read the sayings to the fairy tale “Tsarevich Nekhitor - Nemuder”. Children's answers.
Find the dialogue between the old man and the old woman from the fairy tale “The Most Dear” and read what the old man offered, how the old woman objected to him.
In the workbook on page 23, guess the crossword “Through the pages of fairy tales”. Check completed work.
(Comment. We learned to work with the images of characters, the text of the work, practicing the ability to read “aloud” and “silently.” Setting a learning task is the goal of working in a notebook and textbook, the ability to navigate in a textbook and notebook, independently choose the operation of working with a textbook, working out search reading, expressive reading. All children's answers are confirmed by the test. Here the ability to work with the text of the work is revealed. Children learn self-examination and self-esteem. Work is carried out simultaneously on the language of the work and on the speech of children. The child can show his level of erudition and test himself.)
So our magical living flower has opened oral art Russian people.
Let's repeat? What genres of oral folk art we talked about today. Children's answers. As the lesson progresses, grades are given.
What do you think, what do the works of oral creativity of the Russian people teach? (goodness, truth, conscience, diligence)
Which of the following do you think is the most important?
You all did a good job with the tasks, and each team has the right to receive the title of an erudite team.
I suggest that you find books with Russian folk tales at home, read one of them, and in the next lesson you will retell the tale that you liked or expressively read an excerpt from this tale.
(Comment: Homework is given in several versions so that each child can choose a job according to their abilities.)
Additional material.
What genre of oral folk art belongs to a work that begins with the words:
1. “Once upon a time there was a grandfather and a woman, and they had a hen Ryaba.”
2. Crested laughter
Laughed with laughter:
Ha ha ha!
3. An apple rolled past the garden,
Past the garden, past the city.
Whoever picks it up will get out!
4. Complete task No. 2 on page 20 in your notebook.
Lesson-journey "Meeting with a fairy tale"
The purpose of the lesson:
Develop observation, logical thinking, coherent speech, switchability of attention, the ability to analyze, generalize;
To form the needs of constant reading of books, to enrich the reading experience of students;
To cultivate interest in reading, the ability to work together, to show independence and initiative, a culture of speech.
Equipment:
exhibition of books "Russian folk tales";
cards with excerpts from fairy tales;
items for staging fairy tales: tablecloth, plate
bag, bucket, broom.
visual material depicting objects from fairy tales.
tables with the names of fairy tales;
rooster, mouse, snow maiden masks
illustrations for Russian folk tales;
During the classes
1. Organizational moment.
2. Setting the goal of the lesson.
Guys, today we will talk about a fairy tale. For us, the existence of cars, airplanes, spaceships has long become familiar. I wanted to be transported to the end of the world - turn on the TV, and different countries, people, mountains, seas and more will appear on the screen. Humans have created more miracles than fairy-tale heroes. But why does the fairy tale remain so sweet and dear? Why are fairy tales still written? The fact is that all adults were once children, and children are always told fairy tales. And no matter what we invent, no matter where fate brings us, the fairy tale remains with us. A fairy tale was born with a person, and as long as a person is alive, a fairy tale will also be alive.
3. Actualization of knowledge.
Guys, we have been preparing for this lesson for a long time, we read many different fairy tales, drew illustrations for fairy tales. Tell me, what are fairy tales? (children's answers)
Household. These are stories about animals. There are no magical transformations in them. But these stories are very funny. In them, a good-natured bear, a cowardly hare, a cunning fox, an evil and deceived wolf.
There are also tales about peasants, soldiers, orphans. They also belong to everyday fairy tales.
Magic. They can do everything. Turn a swan into a girl, build a silver palace, turn a frog into a princess, a young man into a mosquito.
Literary tales. These are the ones that writers have composed and written.
Each nation has its own fairy tales, short and long, about people and animals, magical and almost without magic: What does a fairy tale teach us? (children's answers)
She teaches us goodness and justice, teaches us to resist evil, to despise the cunning and flatterers. Learn to understand someone else's misfortune.
No wonder the great Russian poet A. S. Pushkin says: "A fairy tale is a lie, but there is a hint in it - a lesson for good fellows." A fairy tale - a lie turns out to be the most beautiful truth, fairy tales help us to be kinder.
Who does not believe - let him believe
I am glad to any guest!
Opening doors to a fairy tale
I invite all the guys!
4. Work on fairy tales.
Guys, today we will go on a journey to the land of fairy tales. The flying carpet will help us. Close your eyes, mentally stand on the carpet, we will go on a journey "Meeting with a fairy tale." We fly over mountains, over seas, over dense forests. Fairyland is getting closer. The flying carpet slowly descends to the ground. We have arrived. Open your eyes, we are met by a fairy tale. We arrived at the Mysterious station.
Station "Mysterious" (a student comes out)
Fairy tale, fairy tale, joke
Telling her is not a joke.
To a fairy tale first,
Like a river murmured
So that by the end both old and small
She didn't fall asleep.
Student: Hello guys. Welcome to the land of fairy tales. My name is Alyonushka. Do you remember what fairy tale I live in? ("Sister Alyonushka and brother Ivanushka", "Geese are swans".)
I have fabulous things in my shopping cart. They belong to the heroes of Russian folk tales. You know these characters well. Guess what fairy tales these items are from?
(children's answers)
1. "Turnip". 2. "The Fox and the Crane". 3. "Geese and swans". 4. "Chicken - Ryaba". 5. "Princess - frog." 6. "Cat, rooster and fox" (the cat rescued the rooster with a harp) 7. "The Tale of Rejuvenating Apples and Living Water" "Geese - Swans". 8. "Sivka - Burka". "Ivan Tsarevich and the Grey Wolf".
I also have fabulous letters, only they do not have return addresses. Who wrote these letters?
1) Someone for someone
Grabbed tight:
Oh, can't pull it out
Oh, stuck tight.
But more helpers will soon come running:
Friendly common work will win the stubbornness
Who sat down so tight?
Maybe this: (Turnip).
2) Save. We were eaten by a gray wolf. (Goats).
3) "The fox is carrying me through dark forests, over fast rivers, over high mountains" (Cockerel).
4) What should be said to open the entrance to the cave? (Sim-sim open).
The storytellers embodied in the main characters of fairy tales the ideas of the Russian people about the best character traits. The events in the fairy tale take place in such a way as to repeatedly test the hero: his strength, courage, kindness, love for people and animals.
Today the guys act as heroes of Russian folk tales. They prepared questions.
(Children go to the blackboard one at a time and ask questions to the class).
I am Ivanushka from the fairy tale "Geese - Swans". Tell me, what animal helped me and my sister to escape from Baba Yaga? (Mouse).
I am Chanterelle - a sister from the Russian folk tale "Fox - sister and wolf". Answer me the question, where did the wolf put his tail to catch the fish? (Into the river).
I - Frost - Blue nose from the Russian folk tale "Two Frosts". Who did I freeze? (Barina).
I am the stepdaughter from the fairy tale "Morozko". Here is my riddle. What did Santa Claus give me? (Box).
I am the Chanterelle from the fairy tale "The Fox and the Crane". Tell me, what kind of porridge did I treat the crane? (Manna).
I am the Cat from the fairy tale "Cat, Rooster and Fox". My riddle is this. What did I play at the fox hole? (on the harp).
I am a Snow Maiden. Tell me, what made me happy on a spring day? (Grad).
On what basis can they be combined into one group? (All of them are Russian folk tales).
The red girl is sad
She doesn't like spring
She's hard on the sun
Tears are shed, poor thing.
(Snow Maiden).
Who guessed what kind of fairy tale it is. (Russian fairy tale "Snegurochka").
A dramatization of the fairy tale "The Snow Maiden". (children show a fairy tale)
Teacher. name main reason the disappearance of the Snow Maiden. (She melted.)
In each proverb, the people put their dreams of goodness, justice, a comfortable life. Every folk tale contains a wise thought. It is not for nothing that this is said in the proverb: "A fairy tale is a lie, but in it:". Continue the proverb. (Hint, good fellows lesson.)
Labor feeds a person, but: (laziness spoils.)
Once he lied - forever: (he became a liar.)
Who does not love others: (he destroys himself.)
Finished the job -: (walk boldly.)
A person gets sick from laziness, but: (He gets healthy from work.)
It is bad for the one who: (does no good to anyone.)
Learn good: (bad things will not come to mind.)
Bitter work: (yes bread is sweet).
What famous Russian folk tale is the last proverb suitable for?
Russian folk tale "Spikelet".
Dramatization of the fairy tale "Spikelet" (children show a fairy tale)
What does this tale teach? (This tale teaches us that everyone gets what he has earned.)
Who owns these words from a fairy tale?
"Get in one ear and get out the other - everything will work out." (Cow - "Havroshechka")
"Are you warm, girl, are you warm red." (Morozko)
"Do not drink, brother, you will become a goat." (Alyonushka)
"Fu-fu, the Russian spirit is not heard, the view is not seen, but now the Russian spirit itself has come." (Baba Yaga)
"Sivka-burka, prophetic kaurka, stand before me, like a leaf before grass." (Ivan the Fool)
"As soon as I jump out, as I jump out, shreds will go along the back streets." (Fox).
"The fox carries me over dark forests, over fast rivers, over high mountains." (Cockerel)
"Kids, kids, open up, open up, your mother has come, she has brought milk." (Wolf).
"I see - I see! Do not sit on a stump, do not eat a pie. Bring it to your grandmother, bring it to your grandfather." (Masha)
"Look for me at distant lands, in a distant kingdom, in a distant state." (Princess Frog)
Teacher. What signs of Russian folk tales do you know? (fabulous beginnings and endings, magic items, stable combinations of words)
In fairy tales, the theme is varied. Remember fairy tales in which there was such a theme:
about industriousness ("Morozko")
about resourcefulness, ingenuity ("Ivan Tsarevich and the gray wolf")
about friendship, fidelity ("Cat, rooster and fox")
about greed, stinginess ("Havroshechka", "The Fox and the Hare")
about modesty, simplicity ("The Tale of Rejuvenating Apples and Living Water")
about courage, courage ("Porridge from an ax")
about respect for parents, old people ("Masha and the Bear")
Teacher. Our fun and interesting journey has come to an end. One boy said: "If I were a fairy tale, I would have good ending there was no end, I would have no end at all, I would go on and on: "But this does not happen, and therefore let's end our meeting with these words:
Let the heroes of fairy tales give us warmth,
May good always triumph over evil!
It's time for us to fly back. And thank you, Alyonushka. Goodbye, we will meet again in fairy tales. (To children). Children, stand on the carpet, close your eyes. We are returning. Carpet - the plane rises higher and higher. Below was a magical land. We fly over mountains, over seas, over dense forests. Here is our village, our school. We landed. Open your eyes, we are home again. New journeys are waiting for us. You will make these journeys with your faithful friends - books. We give each of you a book of fairy tales.
Summary of the lesson.
What new did you learn at the lesson today?
For whom was the lesson difficult?
What did you especially like?
Evaluation for active participation in the lesson and a mark for all students.
Homework.
Continue reading Russian folk tales.
Annex 5
Characteristics of the level of development of creative abilities of students in the control class in the first ascertaining experiment
| F.I. student | Cognitive criterion | Motivational-need criterion | Activity criterion | Average level | |
| Levels | |||||
| 1 | Kira K. | Short | Short | Short | Short |
| 2 | Julia K. | Average | Average | Average | Average |
| 3 | Sergey. FROM. | Average | Average | Average | Average |
| 4 | Anton. G. | Average | Average | Average | Average |
| 5 | Olga. Sh. | Average | High | Average | Average |
| 6 | Ludmila B. | Average | Average | Average | Average |
| 7 | Vyacheslav N. | High | High | High | High |
| 8 | Pavel S. | High | High | High | High |
| 9 | Elya O. | Average | Average | Average | Average |
| 10 | Sergei S. | Average | Average | Average | Average |
| 11 | Michael K. | Average | Average | Average | Average |
| 12 | Oksana Ch. | Average | Average | Average | Average |
| 13 | Olga T. | Average | Average | Average | Average |
| 14 | Julia D. | Average | Average | Average | Average |
| 15 | Michael K. | High | High | Average | High |
| 16 | Nicholas S. | High | High | High | High |
| 17 | Yura L. | Short | Short | Average | Short |
| 18 | Valery T. | High | High | High | High |
| 19 | Eugene B. | Average | Short | Short | Short |
| 20 | Mark T. | High | High | Average | High |
Characteristics of the level of development of creative abilities of students in the experimental class in the first ascertaining experiment
| № | F.I. student | Cognitive criterion | Motivational-need | Activity, criterion | Average level |
| Levels | |||||
| 1 | Nicholas B. | High | High | High | High |
| 2 | Sergey A. | Average | Average | Average | Average |
| 3 | I am above. | Average | High | Average | Average |
| 4 | Alexander B. | Average | Average | Average | Average |
| 5 | Oksana S. | Average | Average | Average | Average |
| 6 | Sergei Zh. | Average | Average | Average | Average |
| 7 | Tatyana T. | High | High | High | High |
| 8 | Daria G. | Average | Average | Short | Average |
| 9 | Alexey I. | Average | Average | Average | Average |
| 10 | Alexey K. | Average | Average | Average | Average |
| 11 | Natalya P. | Average | Average | Average | Average |
| 12 | Olga K. | Average | Average | Average | Average |
| 13 | Inna K. | Short | Short | Average | Short |
| 14 | Elena G. | Average | Average | Average | Average |
| 15 | Elena O. | High | High | Average | High |
| 16 | Roman K. | High | High | High | High |
| 17 | Glory S. | Short | Short | Short | Short |
| 18 | Ulyana F. | High | High | High | High |
| 19 | Gleb D. | Average | Average | Short | Average |
| 20 | Daniel Sh. | Short | Short | Average | Short |
Appendix 6
Characteristics of the level of development of creative abilities of students in the control class in the second ascertaining experiment
| F.I. student | Cognitive criterion | Motivational-need | Activity criterion | Average level | |
| Levels | |||||
| 1 | Kira K. | Average | High | Short | Average |
| 2 | Julia K. | Average | Average | Average | Average |
| 3 | Sergey. FROM. | Average | High | Average | Average |
| 4 | Anton. G. | Average | High | Average | Average |
| 5 | Olga. Sh. | Average | High | Average | Average |
| 6 | Ludmila B. | Average | Average | High | Average |
| 7 | Vyacheslav N. | High | High | High | High |
| 8 | Pavel S. | High | High | High | High |
| 9 | Elya O. | Average | Average | Average | Average |
| 10 | Sergei S. | Average | Average | Average | Average |
| 11 | Michael K. | Average | Average | Average | Average |
| 12 | Oksana Ch. | Average | Average | Average | Average |
| 13 | Olga T. | High | Average | Average | Average |
| 14 | Julia D. | Average | Average | Average | Average |
| 15 | Michael K. | High | High | Average | High |
| 16 | Nicholas S. | High | High | High | High |
| 17 | Yura L. | Short | Short | Average | Short |
| 18 | Valery T. | High | High | High | High |
| 19 | Eugene B. | Average | Average | Short | Average |
| 20 | Mark T. | High | High | Average | High |
Characteristics of the level of development of creative abilities of students in the experimental class in the second ascertaining experiment
| № | F.I. student | Cognitive criterion | Motivational-need | Activity, criterion | Average level |
| Levels | |||||
| 1 | Nicholas B. | High | High | High | High |
| 2 | Sergey A. | Average | High | Average | Average |
| 3 | I am above. | High | High | Average | High |
| 4 | Alexander B. | High | Average | Average | Average |
| 5 | Oksana S. | High | High | High | High |
| 6 | Sergei Zh. | Average | High | Average | Average |
| 7 | Tatyana T. | High | High | High | High |
| 8 | Daria G. | High | Average | Average | Average |
| 9 | Alexey I. | High | High | High | High |
| 10 | Alexey K. | Average | Average | Average | Average |
| 11 | Natalya P. | High | High | High | High |
| 12 | Olga K. | Average | High | Average | Average |
| 13 | Inna K. | Average | Average | Average | Average |
| 14 | Elena G. | High | Average | Average | Average |
| 15 | Elena O. | High | High | Average | High |
| 16 | Roman K. | High | High | High | High |
| 17 | Glory S. | Average | Average | Average | Average |
| 18 | Ulyana F. | High | High | High | High |
| 19 | Gleb D. | Average | Average | Average | Average |
| 20 | Daniel Sh. | Average | Average | Average | Average |
Collection output:
DEVELOPMENT OF CREATIVE ABILITIES OF YOUNGER STUDENTS
Kondratieva Nika Valerievna
post-graduate student of FSBEI HPE “Chuvash State Pedagogical University named after I.I. AND I. Yakovlev, Russian Federation, Cheboksary
E- mail: nikpnd@ gmail. com
THE DEVELOPMENT OF CREATIVE ABILITIES OF YOUNGER SCHOOLCHILDREN
Kondratyeva Nika
postgraduate studyChuvash State Pedagogical University I.J. Yakovlev», Russia, Cheboksary
ANNOTATION
The article is devoted to the actual problem of the development of creative abilities and creative thinking of younger schoolchildren. In the course of its writing, an analysis of the points of view of scientists, teachers and psychologists was carried out, and ways to solve this problem were developed. The article will be useful to students of pedagogical universities, psychologists, primary school teachers, leaders of creative circles, methodologists. The development of the creative abilities of younger schoolchildren is an important aspect of pedagogical activity and an important component of the harmonious development of children of this age.
ABSTRACT
The article is dedicated to the actual problem of development of creative abilities and creative thinking of younger schoolchildren. In the course of writing was hold a detailed analysis of the points of view of scientists, educators, psychologists regards to development of creative abilities, were developed the solutions to the problem. Article will be relevant and useful for future teachers, psychologists, teachers of junior classes, art classes’ leaders and methodologists that make up the program of training of younger schoolchildren.
Keywords: Creative skills; personality; development; elementary school pedagogy; psychology of younger schoolchildren; development problem.
keywords: creativity; personality; development; pedagogy of primary school; psychology of younger students; the problem of development.
The development of a child's personality begins from infancy, but conscious socialization and personal adaptation begins at the age of 2-3, when the baby begins to actively explore the world. During this period, the main authorities are the parents. It is the parents who lay the first foundations for the socialization of children and develop their creative abilities, as well as prepare them for communication in preschool institutions - kindergartens and circles. The next period of development of the child's personality is the period from 3 to 7 years. At this time, a preschooler attends a kindergarten, communicates with his peers, another authority that influences the worldview of the child, in addition to parents, becomes a teacher, so specialists in preschool institutions should take this into account and use such a method of raising children and developing creative abilities in order to productively and correctly prepare child to school. The third period of development of children is from 7 to 12 years. At this time, the main personal characteristics are laid, which will further affect adolescent development and overcoming the so-called "difficult age". In our opinion, this is the most important period in the development of creative abilities.
Creativity can be described as the activity of a child, as a result of which something new is created, which characterizes its creator from an unexpected side, and also allows you to acquire new knowledge and apply previously acquired knowledge.
Many researchers, such as V. Zenkovsky, D.N. Nikandrov, Z.I. Ravkin, V.A. Slastenin and some others, come to the conclusion that creativity and creative abilities are organically inherent in children's nature, since the child "invariably strives for creativity, using all the means available to him" .
There are a large number of researchers' points of view on the problem of developing the creative abilities of younger students.
For example, V.I. Andreev, G.S. Altshuller, M.I. Makhmutov, T.V. Kudryavtsev, A.M. Matyushkin, E.I. Mashbits, A.I. Uman, A.V. Khutorskoy and some others argue that the creative abilities of primary school children can be developed by creating problem situations, in the process of performing creative tasks, as well as developing personal orientation.
Children from early school age should show independence, develop thinking, self-realization. Teachers and parents should in every possible way encourage the initiative of the child, and also guide him, but not with orders, but with friendly advice, remembering that they are already indisputable authorities for children at this age. In the future, the development of such qualities will greatly help in the further socialization of a schoolchild, a teenager.
The strategy of modern education is to give "the opportunity for all students, without exception, to show their talents and all their creative potential, which implies the possibility of realizing their personal plans and interests" .
Vygotsky L.S. in his writings, he claims that the basis of any creative activity is experience. To do this, parents, teachers of elementary grades should in every possible way encourage the child in his independent knowledge of the world around him, of course, under strict unobtrusive guidance. As L.S. Vygodsky, teachers are responsible for the development of creative abilities of younger students, they must stimulate the development of creative abilities, direct development in the right direction, and also create an environment that requires creative abilities, but at the same time provides opportunities for their manifestation.
Creativity needs to be developed, giving complete freedom of action, without insisting on the obligatory manifestation of them. A creative approach to solving a particular problem should be encouraged and supported in every possible way. As L.S. Vygotsky, it is important to direct pedagogical work towards the development of the imagination of younger students, since this quality will be necessary in the further development of the child's personality and his active socialization in society.
Academician L.V. Zankov also gave not the last place to creativity in the educational program for younger students. In his works, he argued that it was necessary to teach younger students music, fine arts, literary reading, and in every possible way to develop and encourage their creative abilities. At the same time, it is necessary to encourage children to independently search for information, create a positive emotional and creative mood in the classroom, and also, with the help of art, teach subjects that, it would seem, have nothing to do with creativity, for example, mathematics. This is possible with the help of special textbooks and didactic materials in which you can draw, come up with problems yourself with your favorite characters of younger students, give an answer to the question of the problem by coloring objects or their images. A child of primary school age acquires knowledge, but at the same time acquires the skills of independent thinking, creative perception of surrounding objects, and also develops his creative abilities. Psychologists and educators should teach younger students critical, creative thinking, independence.
The problem of developing the creative abilities of younger schoolchildren was considered not only by domestic, but also by foreign scientists, in particular D. Reznulli and H. Passov.
D. Reznulli in his writings develops the idea that the curriculum of younger students should contain all aspects in order to develop the creative abilities of students. In particular, take into account the needs and desires of each child individually, focus on the individual abilities of younger students, and also not limit their need for a more detailed study of a particular issue of interest to them.
The American scientist H. Passov, who developed not a single curriculum, paid special attention to the children's abilities for creativity and creative thinking, and also provided for the development of the creative abilities of younger students through the school curriculum. It is necessary to encourage every manifestation of creativity in any subject, as well as the desire to learn new things, initiative and independent thinking.
The creative abilities of younger students differ from the creative abilities of older students and adults. For younger students, creativity is part of the creation of personality, the development of aesthetic concepts and perception, as well as a means of self-expression.
Creativity determines the character of children, develops in them independence, dedication to what they love. As a result of creative activity, speed of reaction, resourcefulness, and originality of thinking develop.
At the same time, however, younger students in their creative activities are often guided by what they have already read in books, seen in films or in life - as their parents and peers do, so teachers and parents need to be an example of creative behavior for their students and children of primary school age.
The choice of certain life phenomena, characters, lines of behavior by children of primary school age is reflected in their creative activity, therefore, by analyzing the reflection in drawings, in verbal or dance creativity, one can judge the psychological and creative development of a younger student.
Scientists A.G. Gogoberidze and V.A. Derkunskaya note that creativity allows the child to discover himself, new in himself. They considered the results of the application of creative abilities as the results of expressing the inner world of a younger student, his values. Thus, the child opens his inner world to others.
According to E.I. Nikolaev, the manifestation of creative abilities depends on the individual qualities of students, as well as the originality of the activity in which one can show creative abilities.
ON THE. Vetlugin and T.G. Kozakova argued that creativity and creative abilities should develop freely, but under the reasonable, sensitive guidance of teachers and parents. The creative abilities of younger schoolchildren should and can develop only in a free atmosphere, without coercion, on the principles of interest and independence of the child. At the same time, for primary school age, in addition to the subjective side of creative activity, which manifests itself in the form of knowledge of properties and relations in the objective world, procedural or plot-role-playing games, productive activities such as drawing, designing, the child’s independent setting of cognitive and research tasks, the formulation hypotheses, independent search for their solutions.
Scientists A.N. Luka, V.T. Kudryavtsev, V. Sinelnikov and others distinguish the most significant creative abilities inherent in, among other things, younger students:
· creative imagination;
the ability to see the whole before the particular;
the ability to apply previously acquired skills in new conditions;
Flexibility of thinking
the ability to visualize the general trend or pattern of development of an integral object, before a person has a clear idea about it and can fit it into a system of strict logical categories;
the ability to incorporate newly perceived information into existing knowledge systems;
The ability to independently choose an alternative;
· Ability to generate ideas.
However, creativity develops only within the framework of children's activities, so it is necessary to encourage the participation of younger students in various creative teams or any other activity related to creativity.
However, in modern educational institutions, in particular in schools, do not always take into account the individual abilities of each student, and the curriculum is calculated for the "average student", so the creative abilities of some younger students simply do not develop.
There are many programs designed for the development of children with learning difficulties or intellectual disabilities, but there are practically no implemented programs designed and developing creatively developed, gifted children who have a high level of development of creative abilities.
All training should be based on taking into account the individual abilities, personal characteristics of each child, and also develop the creative thinking of younger students, thereby preparing them for further independent decision-making in adolescence and adulthood.
Studies by psychologists and educators show that in the absence of programs for the individual development of younger students, creative abilities may not develop or even be lost due to the wrong approach to the development of the child's personality. As a result, this can lead to problems in the socialization of the child, as well as the lack of one's own opinion. A talented, creative person must be developed and supported in everything.
The experience of foreign studies and the practice of early detection of giftedness in children and students indicate the need to create a special state program that ensures the intensive development of research and the use of accumulated practical experience in identifying gifted and talented younger students and developing their creative abilities.
As a result, we can conclude that the development of creative abilities of younger students is an important aspect of pedagogical activity and education of children of this age. They must become active, independent, be able to make decisions, be creative in solving problems, which is necessary for further successful socialization in society.
Bibliography:
- Altshuller G.S. Find an idea: Introduction to the theory of inventive problem solving / G.S. Altshuller. 2nd ed., add. Novosibirsk: Science. Sib. otd., 1991. - 225 p.
- Andreev V.I. Pedagogy: textbook. course for creative self-development / V.I. Andreev. 2nd ed. Kazan: Center for Innovative Technologies, 2000. - 608 p.
- Aikina L.P. Essence and specificity of creative abilities of younger schoolchildren // World of science, culture, education. - 2011. - No. 5 (30). - pp. 6-8
- Vygotsky L.S. Imagination and creativity in childhood: a psychological essay / L.S. Vygotsky. M.: Enlightenment, 1991. - 93 p.
- Gogoberidze A.G. Theory and methods of musical education of preschool children / A.G. Gogoberidze, V.A. Derkunskaya. M.: Academy, 2005. - 320 p.
- Zankov L.V. Selected pedagogical works / L.V. Zankov. 3rd ed., supplement. M.: House of Pedagogy, 1999. - 608 p.
- Zenkovsky V.V. Psychology of childhood / V.V. Zenkovsky. M.: Academy, 1996. - 346 p.
- Kudryavtsev V.T. Diagnosis of creativity and intellectual readiness of children for developing school education / V.T. Kudryavtsev. M.: RINO, 1999.
- Matyushkin A.M. Problem situations in thinking and learning / A.M. Matyushkin. M., 1972. - 168 p.
- Nikolaeva E.I. Psychology of children's creativity / E.I. Nikolaev. St. Petersburg: Piter, 2010. - 232 p.
- Leites N.S. Psychology of giftedness in children and adolescents / N.S. Leites. M.: Academy, 1996. - 416 p.
The urgency of the problem. The problem of the development of abilities is not new for psychological and pedagogical research, but is still relevant. It is no secret that schools and parents are concerned about the development of students' abilities.
Society is interested in the fact that a person begins to work exactly where he can bring maximum benefit. And for this, the school must help pupils find their place in life.
Labor is a necessary condition for life and the all-round development of man.
The Constitution of the Russian Federation gives a person the right to choose an occupation and profession in accordance with the abilities, vocation, and the state's needs for personnel.
Whatever the individual capabilities of the student, but if he does not have the desire to learn, then there will be no success. True, a positive attitude to learning is also closely related to abilities. It has been noted many times in the psychological and pedagogical literature that the desire to learn increases when learning is successful, and goes out due to failures.
Failures can be explained not only by the lack of knowledge that should have been acquired at the previous stages of education, but also by the undeveloped abilities of the child.
The main task of primary school is to ensure the development of the child's personality. The sources of the full development of the child are two types of activity
Firstly, any child develops as he masters the past experience of mankind through familiarization with modern culture.
This process is based on educational activities, which are aimed at mastering the child with the knowledge and skills necessary for life in society.
Secondly, the child in the process of development independently realizes his abilities, thanks to creative activity. Unlike educational, creative activity is not aimed at mastering already known knowledge.
It contributes to the manifestation of the child's initiative, self-realization, the embodiment of his own ideas, which are aimed at creating a new one.
By carrying out these types of activities, children solve different problems and with different goals.
So, in educational activity, educational and training tasks are solved in order to master some skill, to master this or that rule. In creative activity, search and creative tasks are solved in order to develop the child's abilities. Therefore, if in the process of educational activity a general ability to learn is formed, then within the framework of creative activity a general ability to seek and find new solutions, unusual ways to achieve the desired result, new approaches to considering the proposed situation is formed. If we talk about the current state of the modern elementary school in our country, it should be noted that the main place in its activities is still occupied by the cognitive activity of schoolchildren, and not creative, therefore, we designated the topic of our study as “Pedagogical guidance for the development of creative abilities of younger students” .
Target research:
determine and test in practice the pedagogical conditions that contribute to the development of the creative abilities of a younger student.
Object of study:
development of the abilities of school-age children.
Subject of study:
the process of developing the creative abilities of a younger student.
Research hypothesis:
the process of developing the creative abilities of a younger student will be more effective if:
Conditions have been created conducive to the development of creative abilities, both in educational and extracurricular activities of the student;
Developing work with children is built on a diagnostic basis;
Based on the goal, hypothesis and taking into account the specifics of the subject of research, the following tasks:
1. To study and analyze the scientific and methodological literature and practical experience on the problem.
2. Provide diagnostics for the development of creative abilities.
3. Determine the forms and content of work to develop the creative abilities of younger students both in class and in extracurricular activities.
To achieve the goal of the study and solve the tasks set, the following were used: research methods: theoretical analysis of scientific and methodological literature, scientific research, study of pedagogical experience, diagnostic methods.
Chapter 1. The development of creative abilities of a younger student as a pedagogical problem.
1.1. The essence of the concept is ability.
In the first paragraph, we will consider the essential characteristics of abilities.
This problem was dealt with by such luminaries of Russian psychology as B.G. Ananiev, A.N. Leontiev, S. L. Rubinshtein, B. M. Teplov, N. S. Leites and others. The conceptual apparatus, content and main provisions of the theory of abilities were developed mainly in the works of these scientists.
So, abilities are understood as individual psychological and motor characteristics of an individual that are related to the success of any activity, but are not limited to knowledge, skills and abilities that have already been developed in a child. At the same time, success in any activity can be ensured not by a separate ability, but only by that peculiar combination of them that characterizes a person.
Domestic psychologists A. N. Leontiev and B. M. Teplov studied abilities from different points of view. The focus of attention is B.M. Teplov were individually - the psychological prerequisites for the unequal successful development of certain functions and skills; A.N. Leontiev was mainly interested in how qualitatively mental functions and processes arise from natural prerequisites based on the structures of human activity (in the spirit of the concept of higher mental functions, according to L.S. Vygotsky).
Neither one nor the other did not deny the innate inequality of inclinations, on the one hand, and the ambiguous connection of these inclinations with the final success of complex forms of activity, on the other, however, the emphasis differed, as did the use of concepts. B.M. Teplov, in the context of differential psychophysiology, connected the concept of abilities primarily with biologically determined differences, A.N. Leontiev, in the context of a systematic understanding of psychological functions and their development, referred this word to complex, cultivated, “become” human functions.
Definition: “Ability” = mental characteristics on which the possibility, implementation and degree of success of an activity depends.
If we turn to the “Explanatory Dictionary of the Russian Language” by S.I. Ozhegov, he considers the concept of “ability” as follows: ability is natural giftedness, talent.
A man of great ability. Mental abilities for artistic activity. Able - having the ability to do something, gifted. able to do something; possessing some property. Able to work. This person is capable of anything / will stop at nothing.
In the Pedagogical Encyclopedic Dictionary, ability is interpreted as individual psychological characteristics of a person, which are
conditions for the successful completion of certain activities. They include both individual knowledge and skills, and readiness to learn in a new way and methods of activity.
Different criteria are used to classify abilities. So sensorimotor, perceptual, mnemonic, imaginative, mental, and communicative abilities can be distinguished. One or another subject area can serve as another criterion, according to which abilities can be qualified as scientific / linguistic, humanitarian /, creative / musical, literary, artistic, engineering /.
There are also general and special: general - these are the properties of the mind that underlie various special ones, distinguished in accordance with the types of activity in which they appear / technical, artistic, musical /.
The components that make up the structure of special abilities are identified, which makes it possible to form pedagogical recommendations aimed at improving the efficiency of the formation of abilities in students.
In the "Pedagogical Encyclopedia" the ability is considered as a property of the individual, which is essential in the performance of a particular activity. Usually, the ability is assessed in accordance with the requirements for different types of labor to the psycho-physiological characteristics of a person; you can also talk about the ability to learn or to play.
The ability to act includes a complex structure of simpler abilities. They can be expressed in the speed of assimilation and the correct application of relevant knowledge, skills and abilities, as well as in the originality of their use.
In the process of learning, the first of these manifestations of abilities is more easily detected, while the latter are of decisive importance in creative activity. According to the social significance of the abilities shown by a person, expressed in the results of his work, capable, talented and brilliant people are distinguished.
In the Philosophical Dictionary, abilities are defined as individual characteristics personalities, which are subjective conditions for the successful implementation of a certain kind of activity. Abilities are not limited to the individual's knowledge, skills and abilities. They are found primarily in the speed, depth and strength of mastering the methods and techniques of some activity, they are internal mental regulators that determine the possibility of acquiring them.
In the history of philosophy, the ability for a long period was interpreted as properties of the soul, special powers that are inherited and inherent in the individual. Qualitative, the level of development of abilities is expressed by the concept of talent and genius. Their distinction is usually made according to the nature of the resulting products of activity. Talent is such a set of abilities that allows you to get a product of activity that is distinguished by novelty, high perfection and social significance. Genius is the highest stage in the development of talent, which makes it possible to make fundamental changes in one or another area of creativity.
A large place in psychological and pedagogical research is occupied by the problem of the formation of abilities and specific types of activity. They show the possibility of developing abilities through the creation of a personal attitude to mastering the subject of activity.
The textbook "Psychology" (edited by Doctor of Psychology A.A. Krylov) gives several definitions of abilities
1. Abilities are the properties of the human soul, understood as a set of all kinds of mental processes and states. This is the broadest and oldest definition in psychology.
2. Abilities represent a high level of development of general and special knowledge, skills and abilities that ensure the successful performance of various types of activities by a person. This definition appeared in the psychology of the 18th-19th centuries and is still in use today.
3.Ability is something that does not come down to knowledge, skills and abilities, but ensures their rapid acquisition, consolidation and effective use in practice.
This definition is the most common. A significant contribution to the theory of abilities was made by the domestic scientist B.M. Teplov .. He proposed the third of the listed definitions of the concept of ability .. The concept of “ability”, in his opinion, contains three ideas:
- Individual psychological characteristics that distinguish one person from another;
- not any, in general, individual characteristics, but only those that are related to the success of the implementation of any activity or many activities;
- the concept is not limited to the knowledge, skills or abilities that a given person has already developed.
An ability that does not develop, which a person ceases to use in practice, does not manifest itself over time.
Only thanks to certain conditions associated with the systematic pursuit of such complex human activities as music, technical and artistic creativity, creative abilities develop. We support them and develop them further. Our successful activity does not depend on any one, but on a combination of different abilities, moreover, this combination gives the same result. In the absence of the necessary inclinations for the development of some abilities, their deficiency can be made up for by a stronger development of others.
Krutetsky V.A. The concept of ability is based on two indicators: the speed of mastering the activity and the quality of achievements. A person is considered capable - quickly and successfully masters any activity, easily acquires the appropriate skills and abilities in comparison with other people, - achieves achievements that significantly exceed the average level.
Abilities are individual - psychological characteristics of a person that meet the requirements of this activity and are a condition for its successful implementation, abilities - individual characteristics that distinguish one person from another / long, flexible fingers of a pianist or a tall basketball player are not abilities /.
Abilities include (ear of music, sense of rhythm, constructive imagination, speed of motor reactions - for an athlete, subtlety of color discrimination for an artist - painter).
Along with the individual characteristics of mental processes (sensations and perceptions, memory, thinking, imagination), more complex individual psychological characteristics are also abilities. They include emotional and volitional moments, elements of attitude to activity and some features of mental processes, but are not limited to any particular mental manifestations (mathematical orientation of the mind or aesthetic position in the field of literary creativity).
Any activity requires from a person not one particular ability, but a number of interrelated abilities.
Lack, weak development of any one particular ability can be compensated (compensated) by the enhanced development of others.
Krutetsky V.A. believes that the ability is formed, and therefore, is found only in the process of the corresponding activity. Without observing a person in activity, it is impossible to judge the presence or absence of his abilities. It is impossible to talk about musical abilities if the child has not yet been engaged in at least elementary forms of musical activity, if he has not yet been taught music. Only in the course of this training (moreover, correct training) will it become clear what his abilities are, quickly and easily or slowly and with difficulty, a sense of rhythm, musical memory will be formed in him.
A person is not born capable of this or that activity, his abilities are formed, formed, developed in a properly organized corresponding activity, during his life, under the influence of training and education.
Abilities are lifelong, not innate education. In activities aimed at meeting needs, people's abilities were historically created and developed. During historical development human society, new needs arose, people created new areas of activity, thereby stimulating the development of new abilities.
It should be emphasized the close and inextricable connection of abilities with knowledge, skills and abilities. On the one hand, abilities depend on knowledge, skills, and on the other hand, abilities develop in the process of acquiring knowledge, skills and abilities. Knowledge, skills and abilities also depend on abilities - abilities allow faster, easier, stronger and deeper mastery of the relevant knowledge, skills and skills.
In activities aimed at meeting needs, people's abilities were historically created and developed. In the course of the historical development of human society, new needs arose, people created new areas of activity, thereby stimulating the development of new abilities.
In the psychological and pedagogical literature, special and general abilities are distinguished.
General - include (human success in a variety of activities) mental, subtlety and accuracy of manual movements, developed memory, perfect speech.
Special abilities are the abilities that are necessary for the successful performance of any one specific activity - musical, artistic and visual, mathematical, literary, constructive and technical, etc. These abilities also represent the unity of individual private abilities.
Special - determine the success of a person in specific activities that require inclinations and their development / musical, mathematical, linguistic, technical, literary, artistic, creative, sports /.
The presence of general abilities in a person does not exclude the development of special ones and vice versa.
And often they mutually complement and enrich each other.
Theoretical and practical abilities differ in that the former predetermine a person's inclination to abstract-theoretical reflections, and the latter to concrete, practical actions. These abilities often do not combine with each other, meeting together only in gifted, multi-talented people.
Educational and creative are different from each other. The former determine the success of education and upbringing, the assimilation of knowledge, skills and abilities by a person, the formation of personality traits. The second - the creation of objects of material and spiritual culture, the production of new ideas, discoveries and inventions, individual creativity, in various fields of human activity.
The ability to communicate, interact with people, subject-activity, or subject-cognitive.
These include speech as a means of communication (its communicative functions) Interpersonal perception and evaluation of people, social and pedagogical adaptation to various situations: to get in touch with various people, to win them over, to influence them.
The absence of such abilities in man would be an insurmountable obstacle to his transformation from a biological being into a social one.
In the development of communication skills, one can single out the stages of formation, one's own specific inclinations. These include the innate ability of children to respond to the face and voice of the mother (the animation complex), the ability to understand states, guess intentions and adapt their behavior to the mood of other people and follow certain social norms in communication / the ability to communicate with people to behave in order to be accepted , convince others, achieve mutual understanding, influence people /.
To general mental ability include, for example, such qualities of the mind as mental activity, criticality, systematicity, speed of mental orientation, a high level of analytical and synthetic activity, focused attention
A high level of ability development is called talent.
Talent is the most favorable combination of abilities that make it possible to perform a certain activity especially successfully and creatively, on the one hand, an inclination for this activity, a peculiar need for it, on the other, and great diligence and perseverance, on the third. Talent can manifest itself in any human activity, and not just in the field of science or art. Therefore, a talented person can be an attending physician, a teacher, a pilot, an innovator in agricultural production, and a skilled worker.
The development of talents depends decisively on socio-historical conditions. Class society hinders the development of talents among the representatives of the exploited classes. And even if in such conditions the people gave a lot of outstanding talents (M.V. Lomonosov - the son of a fisherman - Pomor, T.G. Shevchenko - the son of a serf, the inventor of the steam locomotive Stephenson - the son of a worker), then this only speaks of how talented people, how great are the possibilities of the working people.
Consequently, it can be argued that the cognitive abilities required by the modern school can rightfully be considered generic universal. These abilities are the same signs of belonging to the human race, as are the human senses, the activity of his muscles, etc. If there are few or no achievers among schoolchildren, this must be explained by the fact that some teaching methods do not activate generic abilities, do not form them, just as there are children who cannot show the strength of their muscles, their physical dexterity due to unpreparedness to their application. No one, as a rule, should fall behind in teaching. If there are such at school, it is only because they were not ready for learning: some because of the insufficiency of their previous knowledge, others because of the inability to use their generic abilities in educational activities.
There is a great formula by K.E. Tsiolkovsky, which opens the veil over the secret of the birth of a creative mind: “First I discovered truths known to many, then I began to discover truths known to some, and finally I began to discover truths unknown to anyone.” Apparently, this is what it is. the path of the formation of the creative side of the intellect, the path of development of inventive and research talent. Our duty is to help the child embark on this path.
Thus, abilities cannot be either innate or genetic formations - they are a product of development. The inborn factors underlying abilities are inclinations.
Makings are defined as anatomical and physiological features of the brain, nervous and muscular systems, analyzers or sensory organs (B.M. Teplov,
S.L. Rubinstein, B.G. Ananiev, K.M. Gurevich, A.V. Rodionov, N.S. Leites and others).
1.2. Conditions for the transition of natural inclinations into abilities.
Having examined the essential characteristics of abilities in the previous paragraph, it is necessary to develop the following important aspect of this problem, in our opinion: the conditions for the transition of hereditary potency into abilities.
At birth, each child has certain inclinations for the development of abilities and personal qualities, which are finally formed in the process of individual development and learning. but in order for the abilities to develop, it is not enough to give the child knowledge, skills and abilities. It is very important to form such personal qualities that would become the driving force behind all his educational activities, as well as determine the further fate of the knowledge gained: whether they remain dead weight or will be creatively implemented.
Psychologists recognize the well-known role of natural, biological factors as natural prerequisites for the development of abilities. Such natural prerequisites for the development of abilities are called inclinations.
Inclinations are some congenital anatomical and physiological features of the brain, nervous system, analyzers that determine the natural individual differences between people.
Inclinations influence the process of formation and development of abilities. All other things being equal, the presence of favorable inclinations for this activity contributes to the successful formation of abilities facilitates their development. Of course, only the presence of especially favorable inclinations and especially favorable living and working conditions explain the extremely high levels of achievement.
The inclinations include some innate features of the visual and auditory analyzers. The typological properties of the nervous system also act as inclinations, on which the speed of formation of temporary nerve connections, their strength, the strength of concentrated attention, the endurance of the nervous system, and mental performance depend. It has now been established that, along with the fact that typological properties (strength, balance and mobility of nervous processes) characterize the nervous system as a whole, they can characterize the work of individual areas of the cortex (visual, auditory, motor, etc.) in a completely different way. .
In this case, the typological properties are partial (“partial” in Latin means “partial”, “separate”), since it characterizes the work of only certain parts of the cerebral cortex. Partial properties can already be more definitely considered the makings of abilities associated with the work of the visual or auditory analyzer, with the speed and accuracy of movements.
The level of development and correlation of the first and second signal systems should also be considered as inclinations. Depending on the peculiarities of the relationship between signal systems, I.P. Pavlov distinguished three specifically human types of higher nervous activity: art type of with the relative predominance of the first signal system; thinking type with the relative predominance of the second signal system; average type of with relative balance of signaling systems. For people of the artistic type, the brightness of direct impressions, the imagery of perception and memory, the richness and liveliness of the imagination, and emotionality are characteristic.
Thinking type people tend to analyze and systematize, to generalized, abstract thinking.
Individual features of the structure of individual sections of the cerebral cortex can also be inclinations.
It should be remembered that inclinations do not include abilities and do not guarantee their development. Inclinations are only one of the conditions for the formation of abilities. Not a single person, no matter how favorable inclinations he may have, can become an outstanding musician, artist, mathematician, poet, without doing a lot and persistently in the relevant activities. There are many examples in life when people with very favorable inclinations were never able to realize their potential in life and remained mediocre performers in precisely the activity in which they could achieve great success if their life had turned out differently. And vice versa, even in the absence of good inclinations, a hardworking and persistent person with strong and stable interests and inclinations for any activity can achieve certain success in it.
For example, on the basis of such an inclination as speed, accuracy, subtlety and dexterity of movement, depending on the conditions of life and activity, both the ability for smooth and coordinated movements of the body of a gymnast, and the ability for fine and precise movements of the surgeon’s hand, and the ability for quick and the plastic fingers of a violinist.
On the basis of the artistic type, the abilities of an actor, and a writer, an artist, and a musician can develop, on the basis of a thinking type, the abilities of a mathematician, and a linguist, and a philosopher.
With favorable inclinations and under optimal conditions of life and activity, a child’s abilities, for example, musical, literary, visual arts, and mathematics, can form very early and develop very quickly (which sometimes creates the illusion of innate abilities). (17, p.6-12.)
According to R.S. Nemov terms and conditions The development of a person's social abilities are the following circumstances of his life:
1. The presence of a society, a socio-cultural environment created by the labor of many generations of people. This environment is artificial, it includes many objects of material and spiritual culture that ensure the existence of a person and the satisfaction of his own human needs.
2. The lack of natural inclinations to use the appropriate items and the need to learn this from childhood.
3. The need to participate in various complex and highly organized human activities.
4. The presence of educated and civilized people around a person from birth, who already have the necessary abilities and are able to transfer to him the necessary knowledge, skills and abilities, while having the appropriate means of training and education.
5. Absence from birth in a person of rigid, programmed structures of behavior such as innate instincts, immaturity of the corresponding brain structures that ensure the functioning of the psyche and the possibility of their formation under the influence of training and education.
Each of these circumstances is necessary for the transformation of a person as a biological being, from birth possessing elementary abilities that are characteristic of many higher animals, into a social being, acquiring and developing in itself human abilities proper, the socio-cultural environment develops abilities (use of objects, material and spiritual culture).
For a teacher who carefully studies students, for the correct organization of the educational process and an individual approach to teaching and upbringing, it is important to know what the student’s abilities are for, and to what extent these abilities are expressed. The student's abilities can be judged by observing his manifestations in the corresponding activity. In practice, one can judge abilities by the totality the following indicators:
1) for the rapid advancement (rate of advancement) of the student in mastering the relevant activity;
2) according to the qualitative level of his achievements;
3) by a strong, effective and stable inclination of a person to engage in this activity
The successful implementation of a particular activity, even in the presence of abilities, depends on a certain combination of personality traits. Only abilities that are not combined with the corresponding orientation of the personality, its emotional and volitional properties, cannot lead to high achievements. First of all, abilities are closely related to an active positive attitude towards the relevant activity, interest in it, a tendency to engage in it, which at a high level of development turns into passion, into a vital need for this type of activity.
Interests are manifested in the desire for knowledge of the object, a thorough study of it in all details. Propensity - the desire to perform the corresponding activity. Personal interests and inclinations do not always coincide. You can be interested in music and not have an inclination to study it. You can be interested in sports and remain only a “fan” and a connoisseur of sports, without even doing morning exercises. But in children and adults capable of a certain activity, interests and inclinations, as a rule, are combined.
Interests and inclinations for a certain activity usually develop in unity with the development of abilities for it. For example, the interest and inclination of the student to mathematics make him intensively engage in this subject, which in turn develops mathematical abilities. Developing mathematical abilities provide certain achievements, successes in the field of mathematics, which cause a joyful feeling of satisfaction in the student. This feeling causes an even deeper interest in the subject, a tendency to engage in it even more.
For success in activity, in addition to the presence of abilities, interests and inclinations, a number of character traits are necessary, first of all, diligence, organization, concentration, purposefulness, perseverance. Without the presence of these qualities, even outstanding abilities will not lead to reliable, significant achievements.
Many people think that everything is easy and simple for capable people, without much difficulty.
This is not true. The development of abilities requires a long, persistent study and a lot of hard work. As a rule, abilities are always combined with exceptional ability to work and diligence. It is not for nothing that all talented people emphasize that talent is labor multiplied by patience, it is a propensity for endless labor.
I.E. Repin said that a high level of achievement is a reward for hard labor. And one of the greatest scientists in the history of mankind - A. Einstein once said in a joking manner that he achieved success only because he was distinguished by "stubbornness of a mule and terrible curiosity."
At school, sometimes there are students who, thanks to their abilities, grasp everything on the fly, do well, despite laziness, disorganization. But in life they usually do not live up to expectations, and precisely because they are not accustomed to work seriously and in an organized manner, to persistently overcome obstacles.
Such personality traits as self-criticism, exactingness to oneself are very important. These qualities give rise to dissatisfaction with the first results of labor and the desire to do even better, more perfect. This is what forced the great inventor T. Edison to do thousands of experiments in order to find, for example, the most successful battery design. It was this that made A.M. Gorky redo the manuscript of the book “Mother” seven times. Leo Tolstoy's work "Kreutzer Sonata" is small in volume. But the manuscripts of all versions of this work, all notes, notes and sketches are 160 times larger in volume than the work itself.
Such a character trait as modesty is also very important. Confidence in one's exclusivity, nourished by uncertain praises and delights, is often detrimental to abilities, since in this case arrogance, self-admiration and narcissism, and disdain for others are formed. A person stops working on improving the product of his labor, obstacles cause him irritation and disappointment, and all this hinders the development of abilities.
The initial prerequisite for the development of abilities are those innate inclinations with which the child is born. At the same time, the biologically inherited properties of a person do not determine his abilities. The brain does not contain certain abilities, but only the ability to form them. Being a prerequisite for the successful activity of a person, his abilities, to one degree or another, are the product of his activity. In other words, what will be the attitude of a person to reality, such is the result.
Abilities include in their structure of skills, therefore, knowledge and skills. The ease, speed and quality of the formation of each skill, skills depend on the existing abilities.
This earlier development of abilities will allow them to be more fully formed by adulthood. Skills, knowledge, abilities, having become personality traits, turn into elements of new, changed human abilities, lead to new, more complex types of activity. There is a kind of “chain reaction” of developing abilities based on existing ones.
With the inclinations, abilities can develop very quickly even under adverse circumstances. However, excellent inclinations in themselves do not automatically ensure high achievements. On the other hand, even in the absence of inclinations (but not with complete ones), a person can, under certain conditions, achieve significant success in the relevant activity.
So, in this paragraph, we examined the conditions for the transition of natural inclinations into abilities.
1.3. The development of the child's abilities in primary school age.
Having considered in the previous paragraph the conditions for the transition of natural inclinations into abilities, it is necessary to develop the next aspect of this problem, in our opinion, as a characteristic of the mechanism for developing the creative abilities of younger schoolchildren.
As a result of experimental studies, among the abilities of a person, a special kind of ability was singled out - to generate unusual ideas, deviate from traditional patterns in thinking, and quickly resolve problem situations. This ability was called creativity (creativity)
Under the creative (creative) abilities of students understand "... the complex capabilities of the student in the performance of activities and actions aimed at creation."
Creativity covers a certain set of mental and personal qualities that determine the ability to be creative. One of the components of creativity is the ability of the individual.
A creative product must be distinguished from a creative process. The product of creative thinking can be judged by its originality and its value, the creative process by its sensitivity to the problem, the ability to synthesize, the ability to recreate the missing details (do not follow the beaten path), the fluency of thought, etc. These attributes of creativity are common to both science and art.
Problems of creativity have been widely developed in domestic psychology. Currently, researchers are searching for an integral indicator that characterizes a creative person. This indicator can be defined as a certain combination of factors or considered as a continuous unity of procedural and personal components of creative thinking (A.V. Brushlinsky).
A great contribution to the development of problems of abilities, creative thinking was made by psychologists like B.M. Teplov, S.L. Rubinshtein, B.G. Ananiev, N.S. Leites, V.A. Krutetsky, A.G. Kovalev, K.K. Platonov, A.M. Matyushkin, V.D. Shadrikov, Yu.D. Babaeva, V.N. Druzhinin, I.I. Ilyasov, V.I. Panov, I.V. Kalish, M.A. Kholodnaya, N.B. Shumakova, V.S. Yurkevich and others.
Adhering to the position of scientists who define creative abilities as an independent factor, the development of which is the result of teaching the creative activity of younger students, we single out the components of creative (creative) abilities of younger students:
* creative thinking,
* creative imagination,
* application of methods of organization of creative activity.
For the development of creative thinking and creative imagination of primary school students, it is necessary to offer the following tasks:
- classify objects, situations, phenomena on various grounds;
- establish causal relationships;
- see interconnections and identify new connections between systems;
- consider the system in development;
- make forward-looking assumptions;
- highlight the opposite features of the object;
- identify and form contradictions;
- to separate conflicting properties of objects in space and time;
- represent spatial objects.
Creative tasks are differentiated according to such parameters as
- the complexity of the problem situations contained in them,
- the complexity of the mental operations necessary to solve them;
- forms of representation of contradictions (explicit, hidden).
In this regard, three levels of complexity of the content of the system of creative tasks are distinguished.
Tasks of the III (initial) level of complexity are presented to students of the first and second grades. A specific object, phenomenon or human resource acts as an object at this level. Creative tasks of this level contain a problematic issue or a problematic situation, involve the use of the method of enumeration of options or heuristic methods of creativity and are designed to develop creative intuition and spatial productive imagination.
Tasks of the II level of complexity are one step lower and are aimed at developing the foundations of systemic thinking, productive imagination, mainly algorithmic methods of creativity.
Under the object in the tasks of this level is the concept of “system”, as well as the resources of systems. They are presented in the form of a vague problem situation or contain contradictions in an explicit form.
The purpose of tasks of this type is to develop the foundations of students' systemic thinking.
Tasks I (highest, high, advanced) level of complexity. These are open tasks from various fields of knowledge containing hidden contradictions. Biosystems, polysystems, resources of any systems are considered as an object. Tasks of this type are offered to students in the third and fourth years of study. They are aimed at developing the foundations of dialectical thinking, controlled imagination, and the conscious application of algorithmic and heuristic methods of creativity.
The methods of creativity chosen by students when performing tasks characterize the corresponding levels of development of creative thinking, creative imagination. Thus, the transition to a new level of development of creative abilities of younger students occurs in the process of accumulation of creative activity by each student.
III level - involves the performance of tasks based on the enumeration of options and the accumulated creative experience in preschool age and heuristic methods. The following creative methods are used:
- focal object method,
- morphological analysis,
- control question method,
- separate typical methods of fantasizing.
Level II - involves the performance of creative tasks based on heuristic methods and TRIZ elements, such as:
- little man method
- methods of overcoming psychological inertia,
- system operator,
- resource approach,
- laws of system development.
Level I - involves the performance of creative tasks based on the thinking tools of TRIZ:
* adapted algorithm for solving inventive problems,
* techniques for resolving contradictions in space and time,
* typical methods of conflict resolution.
Domestic psychologists and teachers (L.I. Aidarova, L.S. Vygotsky, L.V. Zankov, V.V. Davydov, Z.I. Kolmykova, V.A. Krutetsky, D.B. Elkonin and others.) emphasize the importance of educational activity for the formation of creative thinking, cognitive activity, the accumulation of subjective experience of creative search activity of students.
The experience of creative activity, according to researchers, is an independent structural element of the content of education:
- transfer of previously acquired knowledge to a new situation,
- independent vision of the problem, alternatives for its solution,
- combining previously learned methods into new and different ones.
Analysis of the main psychological neoplasms and the nature of the leading activity of this age period, modern requirements for the organization of education as a creative process, which the student, together with the teacher, in a certain sense build themselves; orientation at this age on the subject of activity and ways to transform it suggest the possibility of accumulating creative experience not only in the process of cognition, but also in such activities as the creation and transformation of specific objects, situations, phenomena, creative application of knowledge gained in the learning process.
In the psychological and pedagogical literature on this issue, definitions of creative activities are given.
Cognition is “... the educational activity of the student, understanding it as a process of creative activity that forms their knowledge.”
At primary school age, in the first place, there is a division of play and labor, that is, activities carried out for the sake of pleasure that the child will receive in the process of the activity itself and activities aimed at achieving an objectively significant and socially assessed result. This distinction between play and work, including educational work, is an important feature of school age.
The importance of imagination in primary school age is the highest and necessary human ability. However, it is this ability that needs special care in terms of development. And it develops especially intensively at the age of 5 to 15 years. And if this period of imagination is not specially developed, in the future there will be a rapid decrease in the activity of this function.
Along with a decrease in a person’s ability to fantasize, a person becomes impoverished, the possibilities of creative thinking decrease, interest in art, science, and so on goes out.
Younger students carry out most of their vigorous activity with the help of imagination. Their games are the fruit of the wild work of fantasy, they are enthusiastically engaged in creative activities. The psychological basis of the latter is also creative imagination. When in the process of learning children are faced with the need to comprehend abstract material and they need analogies, support with a general lack of life experience, imagination also comes to the aid of the child. Thus, the significance of the function of imagination in mental development is great.
However, fantasy, like any form of mental reflection, must have a positive direction of development. It should contribute to a better knowledge of the world around self-disclosure and self-improvement of the individual, and not develop into passive daydreaming, replacing real life with dreams. To accomplish this task, it is necessary to help the child use his imagination in the direction of progressive self-development, to enhance the cognitive activity of schoolchildren, in particular the development of theoretical, abstract thinking, attention, speech and creativity in general. Children of primary school age are very fond of doing art. It allows the child to reveal his personality in the most complete free form. All artistic activity is based on active imagination, creative thinking. These features provide the child with a new, unusual view of the world.
They contribute to the development of thinking, memory, enrich his individual life experience! According to L.S. Vygotsky, imagination provides the following activities of the child:
Building an image, the end result of his activity,
Creation of a program of behavior in a situation of uncertainty, creation of images that replace activities,
Creation of images of described objects.
For the development of the child, the formation of many interests is very important.
It should be noted that the student is generally characterized by a cognitive attitude to the world. Such a curious orientation has an objective expediency. Interest in everything expands the child's life experience, introduces him to various activities, activates his various abilities.
Children, unlike adults, are able to express themselves in artistic activities. They are happy to perform on stage, participate in concerts, competitions, exhibitions and quizzes. The developed ability of imagination, typical for children of primary school age, gradually loses its activity as the age increases.
Summing up the results of the paragraph, we come to the following conclusion.
A child of primary school age, in the conditions of upbringing and education, begins to occupy a new place in the system of social relations accessible to him. This is primarily due to his admission to school, which imposes certain social duties on the child, requiring a conscious and responsible attitude towards it, and with his new position in the family, where he also receives new duties. At primary school age, the child for the first time becomes, both at school and in the family, a member of a real work collective, which is the main condition for the formation of his personality. The consequence of this new position of the child in the family and at school is a change in the nature of the child's activity. Life in a team organized by the school and teacher leads to the development of complex, social feelings in the child and to the practical mastery of the most important forms and rules of social behavior. The transition to the systematic assimilation of knowledge at school is a fundamental fact that forms the personality of a younger student and gradually restructures his cognitive processes.
The range of creative tasks solved at the initial stage of education is unusually wide in complexity - from finding a malfunction in a motor or solving a puzzle, to inventing a new machine or a scientific discovery, but their essence is the same: when they are solved, an experience of creativity occurs, a new path is found or something is created. new. This is where the special qualities of the mind are required, such as observation, the ability to compare and analyze, combine, find connections and dependencies, patterns, etc. all that in the aggregate constitutes creative abilities.
Creative activity, which is more complex in its essence, is available only to a person.
There is a great “formula” that opens the veil over the secret of the birth of a creative mind: “First, open the truth known to many, then open the truths known to some, and finally open the truths unknown to anyone.” Apparently, this is the path to the formation of the creative side of the intellect, the path to the development of inventive talent. Our duty is to help the child embark on this path..
The school always has a goal: to create conditions for the formation of a personality capable of creativity and ready to serve modern production. Therefore, the elementary school, working for the future, should be focused on the development of the creative abilities of the individual.
Chapter 2. Pedagogical conditions for the development of creative abilities of primary school students.
In the first chapter, we examined the essence of the concept of ability, the conditions for the transition of natural inclinations into abilities, and the characteristics of the creative abilities of a younger student.
In the second chapter, we reveal the pedagogical conditions for the development of the child's creative personality both in extracurricular and extracurricular activities, and in class activities.
2.1. The study of the development of creative abilities.
The topic of our research was to determine the conditions for the development of the creative abilities of a child of primary school age, the characteristics of which were given in the first chapter of the thesis
The focus of our work is children of primary school age. As we noted above, this age is the most favorable for the development of the imagination and creativity of the individual. The younger school age is characterized by the activation of the functions of the imagination, first recreating, and then creative.
Scientific analysis of the problem, the practice of the work of educational institutions shows that developmental work does not have an effective result if it is not based on a preliminary and current study of the level of development of a particular ability of the child. D.B. Elkonin pointed out the controllability of the development of abilities, the need to take into account the initial level and control the development process, which contributes to the choice of directions in subsequent work. Therefore, the first stage in our research work was the study of the development of creative abilities of primary school students No. 9 of the city of Mariinsk, which became the starting point for constructing a formative experiment.
Research by scientists convincingly proves that the basis of many gaps in the development of a child's creative abilities is a low level of development of a person's culture.
Based on the understanding of culture as:
a) systems of specific human activities;
b) the totality of spiritual values;
c) the process of self-realization of the creative essence of man.
we have identified the following components of the object of study (creativity), which can be the basis for identifying diagnostic parameters, as well as guidelines that determine the goals and objectives of the content and the effectiveness of educational activities:
- Literacy
- Competence
- Value-semantic component
- Reflection
- cultural creativity
Literacy is the basics of culture, in particular knowledge about creative abilities, from which its development begins, taking into account age and individual characteristics.
Literacy means the acquisition of knowledge, which can manifest itself in outlook, erudition, awareness, both from the point of view of scientific knowledge and from the point of view of everyday experience, drawn from traditions, customs, direct communication of a person with other people. Literacy involves mastering the system of signs and their meanings. (18, from 75.)
In the definition of competence, we adhere to the definition given in the work of M.A. Kholodny: "Competence is a special type of organization of subject-specific knowledge, which allows making effective decisions in the relevant field of activity."
The main difference between literacy and competence is that a literate person knows, understands (for example, how to behave in a given situation), and a competent person can really and effectively use knowledge in solving certain problems. The tasks of developing competence are not just to know more and better about the costume, but to include this knowledge in life practice.
Creativity is a set of personally significant and personally valuable aspirations, ideals, beliefs, views, positions, relationships, beliefs, human activities, relationships with others.
Value, in contrast to the norm, implies a choice, which is why, in situations of choice, the characteristics related to the value-semantic component of human culture are most clearly defined.
Reflection is tracking the goals, process and results of one's activity in the appropriation of culture, awareness of those internal changes that are taking place, as well as oneself as a changing personality, subject of activity and relationships.
Cultural creativity means that a person already in childhood is not only a creation of culture, but also its creator. Creativity is inherent in development already at preschool age. These components do not exist in isolation from each other.
They are not opposed, but only conditionally divided into processes of development of creativity.
Relationships can appear between almost all components; the organization of reflection allows to achieve transformations in the value-semantic sphere, which can affect the improvement of literacy and competence.
Since our experiment is practice-oriented, we used empirical research methods. Based on the parameters identified by some scientists (literacy, competence, creativity), based on the sections of the psychological and pedagogical characteristics of a child of primary school age, we developed a set of diagnostic tasks that were aimed at determining the degree of severity fantasies of each child, which gave us initial ideas about the development of his creative imagination
To more accurately determine the level of development of students' creative abilities, it is necessary to analyze and evaluate each independently completed creative task. The pedagogical assessment of the results of the creative activity of students was carried out by us using the “Fantasy” scale, developed by G.S. Altshuller to assess the presence of fantastic ideas and thus allow assessing the level of imagination (the scale is adapted to the junior school question by M.S. Gafitulin, T.A. Sidorchuk).
The Fantasy scale includes five indicators:
- novelty (assessed on a 4-level scale: copying an object (situation, phenomenon), minor change in the prototype, obtaining a fundamentally new object (situation, phenomenon));
- persuasiveness (convincing is a reasonable idea described by the child with sufficient certainty).
The data of scientific works suggest that research conducted in real life is legitimate if it is aimed at improving the educational environment in which the child is formed, contributing to social practice, at creating pedagogical conditions conducive to the development of creativity in the child.
Our initial research showed the need for painstaking and purposeful work with more than half of the students to develop their creative abilities, which stimulated us to identify and create conditions conducive to the development of creative abilities.
We assumed that the greatest effect in the development of the creative abilities of a younger student can be
- daily inclusion of creative tasks and exercises in the educational process,
- implementation of circle or optional classes according to a specially designed program,
- involvement of students in creative interaction of an applied nature with peers and adults by connecting the families of students,
Didactic and plot - role-playing games in the classroom and outside of class
Excursions, observations;
Creative workshops;
Trainings conducted by the psychologist of an educational institution.
Analysis of the results of diagnostics of the development of creative abilities of younger students was carried out through a system of creative tasks, which allowed:
* to form requirements for a system of tasks that will allow you to purposefully develop these abilities;
* consider the content of various training courses as a resource for tasks for younger students;
* offer ways to organize the creative activity of students and tools for pedagogical diagnostics;
* formulate organizational requirements for the learning process at the primary level of the school.
All this made it possible to concretize and solve the problem of developing the creative abilities of younger students through a system of creative tasks.
2.2. The development of the child's creative abilities in educational activities.
Adhering to the position of scientists who believe that the most appropriate form of development of creative (creative) abilities is teaching the creative activity of younger students. For such training, at the first stage of our experimental work, we chose a lesson.
Lesson - remains the main form of education and upbringing of primary school students. It is within the framework of the educational activity of a junior schoolchild that, first of all, the tasks of developing his imagination and thinking, fantasy, ability to analyze and synthesize (isolate the structure of an object, identify relationships, understand the principles of organization, create a new one) are solved.
It should be noted that modern educational programs for younger students imply solving the problems of developing the child's creative abilities in educational activities.
So, as part of the implementation of the program on literary reading, the work of a primary school teacher should be aimed not only at developing reading skills, but also at:
- development of creative and recreative imagination of students,
- enrichment of the moral, aesthetic and cognitive experience of the child.
- At the same time, the choice of forms, methods, means for solving the designated tasks traditionally causes difficulties for primary school teachers.
Any activity, including creative, can be represented
in the form of certain tasks. I.E. Unt defines creative tasks as “…tasks requiring creative activity from students, in which the student himself must find a way to solve, apply knowledge in new conditions, create something subjectively (sometimes objectively) new”
The effectiveness of the development of creative abilities largely depends on the material on the basis of which the task was compiled. Based on the analysis of psychological, pedagogical and scientific and methodological literature (G.S. Altshuller, V.A. Bukhvalov, A.A. Danilov, A.M. Matyushkin and others), we identified the following requirements for creative tasks:
- compliance with the conditions of the chosen methods of creativity;
- the possibility of different solutions;
- taking into account the current level of the solution;
- taking into account the age interests of students.
Considering these requirements, we have built a system of creative tasks, which is understood as an ordered set of interrelated tasks focused on objects, situations, phenomena and aimed at developing the creative abilities of younger students in the educational process.
The system of creative tasks includes target, content, activity and result components.
We have replaced the traditional assignments for writing essays in the Russian language lessons with cooperation in the cool handwritten magazine “Fireflies”. In order to get their creative work on the pages of the magazine, students must not only spell correctly write the work, but also be creative in its design. All this stimulates younger students to independent, without pressure from adults, the desire to write poetry, fairy tales.
No less opportunities for the development of creative abilities of students have lessons in natural history, ecological culture. One of the most important tasks is the education of a humane, creative personality, the formation of a careful attitude to the riches of nature and society. We sought to consider the available cognitive material in an inseparable, organic unity with the development of the child's creative abilities, to form a holistic view of the world and a person's place in it.
At the lessons of labor training, a lot of work is done to develop creative thinking and imagination in children of primary school age.
An analysis of textbooks for elementary school (a set of textbooks “School of Russia”) showed that the creative tasks contained in them are mainly classified as “conditionally creative”, the product of which are essays, presentations, drawings, crafts, etc. Part of the tasks is aimed at developing the intuition of students; finding multiple answers; creative tasks that require permission are not offered by any of the programs used in schools.
The proposed tasks involve the use in the creative activity of younger students mainly of methods based on intuitive procedures (such as the method of enumeration of options, morphological analysis, analogy, etc.). Modeling, a resource approach, and some fantasizing techniques are actively used. However, the programs do not provide for the purposeful development of students' creative abilities.
Meanwhile, for the effective development of the creative abilities of schoolchildren, the use of heuristic methods should be combined with the use of algorithmic methods of creativity.
Particular attention is paid to the creative activity of the student himself. The content of creative activity refers to its two forms - external and internal. The external content of education is characterized by the educational environment, the internal content is the property of the individual himself, created on the basis of the student's personal experience as a result of his activity.
When selecting the content for the system of creative tasks, we took into account two factors:
- The fact that the creative activity of younger schoolchildren is carried out mainly on the problems already solved by society,
- Creative possibilities of the content of primary school subjects.
Each of the selected groups is one of the components of the creative activity of students, has its own purpose, content, offers the use of certain methods, performs certain functions. Thus, each group of tasks is a necessary condition for the student to accumulate subjective creative experience.
Group 1 - "Knowledge".
The goal is the accumulation of creative experience of cognition of reality.
Acquired Skills:
- to study objects, situations, phenomena on the basis of selected features - color, shape, size, material, purpose, time, location, part-whole;
- to consider in the contradictions that determine their development;
- to model phenomena, taking into account their features, system connections, quantitative and qualitative characteristics, patterns of development.
Group 2 - "Creation".
The goal is the accumulation by students of creative experience in creating objects of situations, phenomena.
The ability to create original creative products is acquired, which involves:
* obtaining a qualitatively new idea of the subject of creative activity;
* Orientation to the ideal end result of the development of the system;
* rediscovery of already existing objects and phenomena with the help of dialectical logic.
Group 3 - "Transformation".
The goal is the acquisition of creative experience in the transformation of objects, situations, phenomena.
Acquired Skills:
- simulate fantastic (real) changes in the appearance of systems (shape, color, material, arrangement of parts, and others);
- to model changes in the internal structure of systems;
- take into account when changing the properties of the system, resources, the dialectical nature of objects, situations, phenomena.
Group 4 - "Use in a new capacity."
The goal is the accumulation by students of the experience of a creative approach to the use of existing objects, situations, phenomena.
Acquired Skills:
- consider the objects of the situation, phenomena from different points of view;
- find fantastic applications for real-life systems;
- carry out the transfer of functions to various areas of application;
- get a positive effect by using the negative qualities of systems, universalization, obtaining systemic effects.
In order to accumulate creative experience, the student must be aware (reflect) of the process of performing creative tasks.
The organization of students' awareness of their own creative activity involves current and final reflection.
Current reflection is implemented in the process of students completing assignments in a workbook and involves independent fixation of the level of students' achievement (emotional mood, acquisition of new information and practical experience, degree of personal advancement, taking into account previous experience).
The final reflection involves the periodic performance of thematic examinations.
Both at the current and at the final stage of reflection, the teacher fixes what methods for solving creative tasks students use, and draws a conclusion about the progress of students, about the level of development of creative thinking and imagination.
By reflexive actions in our work, we understood
- willingness and ability of students to think creatively to overcome problem situations;
- the ability to acquire new meaning and values;
- the ability to set and solve non-standard tasks in the conditions of collective and individual activities;
- ability to adapt in unusual interpersonal systems of relations;
- humanity (determined by a positive transformation aimed at creation);
- artistic value (estimated by the degree of use of expressive means when presenting an idea);
- subjective assessment (given without substantiation and evidence, at the level of likes or dislikes). This methodology can be supplemented with an indicator of the level of the method used.
Thus, the organization of the creative activity of younger students, taking into account the chosen strategy, involves the following changes in the educational process:
- involvement of students in systematic joint creative activity based on personal-activity interaction, focused on cognition, creation, transformation, use of objects of material and spiritual culture in a new quality, the obligatory result of which should be the receipt of a creative product;
- systematic use of creative methods that ensure the advancement of students in the development of creative abilities by accumulating experience in creative activity when performing gradually more complex creative tasks within the framework of an additional curriculum;
- intermediate and final diagnosis of creative abilities of younger students.
2.3. Implementation of the program “Creativity Lessons”.
The implementation of the program of creative tasks within the framework of the educational disciplines of elementary school is possible only in the first grade. Starting from the second grade, the absence of tasks containing contradictions in the subjects and the lack of time for mastering the methods of organizing the creative activity of students compensates optional course "Lessons of creativity".
The main objectives of the course:
- development of a productive, spatial, controlled imagination;
- training in the purposeful use of heuristic methods to perform creative tasks.
In the explanatory note to the program, that the course is designed for 102 academic hours from the second grade of a four-year elementary school (34,34,34 hours, respectively) and contains about 500 tasks of a creative nature, however, based on the results of the initial diagnosis of the development of creative abilities of our experimental class, we did our thematic planning as part of extracurricular activities with students in grades 2 and 3.
Thematic planning of the course "Lessons of creativity".
Sections 2 classes |
Number of hours |
Sections 3 classes |
Number of hours |
Sections 4 classes |
Number of hours |
Object and its features |
Bi - and polysystems |
||||
Human Resources |
Laws of system development |
Contradiction |
|||
Fantasizing techniques |
Techniques for resolving contradictions |
||||
Methods for activating thinking |
Modeling |
Qualities of a creative person |
To organize the content of the course, an approach was used that allows parallel inclusion of creative tasks focused on cognition, the creation, transformation and use of objects, situations, phenomena of various levels of complexity, which ensures progress in the development of students in an individual mode, while maintaining the integrity of the learning system.
So, for example, in the section “Object and its features” when studying the topic
“Form” tasks focused on the knowledge “Creation and transformation of objects” were used (make a riddle; come up with a new shape; divide into groups; connect objects of the natural and technical world that are similar in shape; find objects that look like a circle, square, triangle). And in the topic
“Material” - assignments for the knowledge, creation and use of objects in a new capacity (“What of what?”, “Make a riddle”, “Find a new use for an old rubber toy”, “think up a new material and explain how to use it”).
According to the principles of the personal-activity approach, all completed creative tasks ended with practical activities that are meaningful and accessible to younger students - visual activity, schematization, construction, writing fairy tales (stories), compiling riddles, descriptions, comparisons, metaphors, proverbs, fantastic plots. The development of students' creative abilities is considered from the standpoint of personal acquisitions, the continuous “building up” of the experience of creative activity by each student.
We presented the activities for the implementation of the system of creative tasks in four areas focused on;
1) knowledge of objects, situations, phenomena;
2) creation of new objects, situations, phenomena;
3) transformation of objects, situations, phenomena;
4) the use of objects, situations, phenomena in a new quality.
Let us dwell on the main points of the implementation of the selected areas at various levels of complexity.
“Lessons of creativity” were realized in the following directions.
"Knowledge".
The implementation of the first direction of work involves the implementation by students of creative tasks focused on the knowledge of objects, situations, phenomena in order to accumulate experience in creative activity. They are represented by the following thematic series: “Yes-No”, “Signs”, “Natural world”, “Technical world”, “Human organism”, “Theatrical”, “Fantastic stories”, “What is good?” These tasks involve the use of dichotomy methods, control questions, and individual fantasizing techniques.
"Creating a New"
When implementing the second direction, students perform creative tasks focused on creating a new one:
- "My business card";
- "Compose a riddle";
- “Come up with your own color (shape, material, sign)”;
- “Picture your memory”;
- “Come up with a fairy tale (story) about……..”;
- “Invent a new balloon (shoes, clothes)”;
- “Invent a telephone for the deaf”, etc.
To complete these tasks, we used separate fantasizing techniques (splitting, combining, shifting in time, increasing, decreasing, vice versa) and methods of activating thinking - synectics, the method of focal objects, morphological analysis, control questions. The mastering of the methods took place mainly in group activities, followed by collective discussion.
“Object Transformation”
To create the experience of creative activity, students were asked to perform the following tasks on the transformation of objects, situations, phenomena:
- "The Rover on Mars";
- “Fruit Packing Problem”;
- “The problem of drying gunpowder”;
- “Problem about separation of a microbe”;
- “Come up with a label for a bottle of poison”, etc.;
As a result of the implementation, the students have expanded the possibilities of transforming objects, situations, phenomena by changing intra-system relationships, replacing system properties, and identifying additional system resources.
“Use in a new capacity”
A feature of the organization of work on creative tasks is the use of a resource approach in combination with previously used methods. Students perform the following creative tasks:
- “Find a use for the discovery of the ancients in our days”;
- “Baboons and tangerines”;
- “Problem about the publicity stunt”;
- “The problem of the first people on the moon”;
- Series of tasks “Problems of the third millennium”;
- “Winnie the Pooh decides out loud”;
- "Narnia" etc.
As a result of their implementation under the guidance of a teacher, students were able to master the ability to quickly find an original application for the properties shown in an object.
Repeated diagnostics according to previously selected indicators led us to the following conclusions:
the systematic conduct of extracurricular activities, the use of algorithmic methods made it possible to expand the possibilities of children in the transformation of objects, achieved the transformation of ideas, various operations.
Conclusion
In the process of research, we analyzed in detail the essential
characteristics of abilities, their theoretical aspects, pedagogical management of the process of developing creative abilities in a school setting. Creativity as a formative concept seems to us especially important and relevant today.
The problem of pedagogical management of the development of creative abilities was considered by us from different angles: we used the program of the author G.V. Terekhova “Creativity Lessons”, which can be used as a course in optional classes.
This problem is reflected in the educational and leisure activities of the school.
We have made an attempt to build a system
performing creative tasks at each lesson in the process of teaching younger students. By the system of creative tasks, we mean an ordered set of interrelated tasks focused on knowledge, creation, transformation in a new quality objects, situations and phenomena of educational reality.
One of the pedagogical conditions for the effectiveness of the system of creative tasks is the personal-activity interaction of students and the teacher in the process of their implementation. Its essence lies in the inseparability of direct and reverse effects, the organic combination of changes in the subjects influencing each other, the awareness of interaction as co-creation.
In the course of experimental work, we came to the conclusion that one of the pedagogical conditions for the effectiveness of the system of creative tasks is the personal-activity interaction of students and teacher in the course of their implementation. Its essence lies in the inseparability of direct and reverse effects, the organic combination of changes that affect each other, the understanding of interaction as co-creation.
The personal-activity interaction of a teacher and students in the process of organizing creative activity is understood as a combination of organizational forms of education, a binary approach to the choice of methods and a creative style of activity.
With this approach, the organizational function of the teacher is strengthened, it involves the choice of optimal methods, forms, techniques, and the function of the student is to acquire the skills of organizing independent creative activity, choosing the way to perform a creative task, the nature of interpersonal relationships in the creative process.
All these measures will allow children to be actively involved as subjects in all types of creative activity.
The accumulation by each student of the experience of independent creative activity involves the active use of collective, individual and group forms of work at various stages of performing creative tasks.
The individual form allows you to activate the personal experience of the student, develops the ability to independently identify a specific problem for solution.
The group form develops the ability to coordinate one's point of view with the opinion of comrades, the ability to listen and analyze the areas of search proposed by group members.
The collective form expands the ability of students to analyze the current situation in a wider interaction with peers, parents, teachers, provides the child with the opportunity to find out different points of view on solving a creative problem.
Thus, the effectiveness of the work being done is largely determined by the nature of the relationship between students. and between students and teachers.
In this regard, some conclusions and recommendations can be drawn:
The results of our observations, the questioning of students and their parents indicate that the child's creative abilities develop in all types of activities that are significant to him, provided that the following conditions are met:
- the presence of an interest formed in children in performing creative tasks;
- the implementation of creative tasks as the most important component of not only classroom, but also extracurricular activities of the student;
- uniting by a common thematic and problematic core of educational and extracurricular forms of work, in which children learn to reflect on the problems of creativity and translate these reflections into practical activities;
Creative work should unfold in the interaction of children with each other and adults, be lived by them depending on specific conditions in interesting game and event situations;
Encourage students' parents to create home conditions for the development of the child's creative abilities, include parents in the creative affairs of the school.
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Explanatory note
.Primary school age is a particularly important period of the child's psychological development, the intensive development of all mental functions, the formation of complex activities, the laying of the foundations of creative abilities, the formation of the structure of motives and needs, moral standards, self-esteem, elements of volitional regulation of behavior.
“Creativity and personality”, “creative personality and society”, “creativity” - this is an incomplete list of issues that are in the focus of attention of psychologists, teachers, parents.
Creativity is a complex mental process associated with the character, interests, abilities of the individual.
Imagination is his focus.
A new product received by a person in creativity can be objectively new (a socially significant discovery) and subjectively new (a discovery for oneself). The development of the creative process, in turn, enriches the imagination, expands the knowledge, experience and interests of the child.
Creative activity develops the feelings of children, contributes to a more optimal and intensive development of higher mental functions,
such as memory, thinking. perception, attention
The latter, in turn, determine the success of the child's studies.
Creative activity develops the personality of the child, helps him to assimilate moral and moral norms. Creating a work of creativity, the child reflects in them his understanding of life values, his personal properties. Children of primary school age love to make art. They sing and dance with enthusiasm. they sculpt and draw, compose fairy tales, and are engaged in folk crafts. Creativity makes a child's life richer, fuller, more joyful. Children are able to engage in creativity regardless of personal complexes. An adult, often critically evaluating his creative abilities, is embarrassed to show them.
Every child has their own. only his inherent features that can be recognized early enough.
Program goal:
- development of systematic, dialectical thinking;
- development of a productive, spatial, controlled imagination;
- training in the purposeful use of heuristic and algorithmic methods to perform creative tasks.
Program objectives:
1. create conditions for the development of students' creative abilities.
2. contribute to the education of aesthetic feelings, susceptibility
child to the world, and appreciation of the beautiful.
Basic working methods:
individual, group, collective.
Classes are structured in such a way that there is a frequent change in activities, while the principle from complex to simpler is observed during each task, dynamic pauses are held. Many younger students need to develop sensory and motor skills, so the classes include exercises to develop graphic skills, fine motor skills of the hand.
Reflection at the end of the lesson includes a discussion with the children about what they learned in the lesson and what they liked the most.
This program is designed for 68 academic hours from the second grade of a four-year elementary school (34.34 hours, respectively) and contains about 500 creative tasks.
We presented the activities for the implementation of the system of creative tasks in four areas focused on:
- knowledge of objects, situations, phenomena;
- creation of new objects, situations, phenomena;
- transformation of objects, situations, phenomena;
- the use of objects, situations, phenomena in a new quality.
Structure and content of the program:
The entire course of study is a system of interrelated topics that reveal the diverse connections of objective practical activity in nature with the world of creativity and art.
In order to develop creative abilities, children are included in various forms and activities.
The name of the program “Creativity Lessons” is not accidental.
The idea of the program is an individual, group, collective approach, after each lesson there is a reflection, each student analyzes his attitude to the classes, whether he succeeded in creative work.
In this regard, the purpose of this work is to draw up a program for the development of creative abilities of children of primary school age.
The program for the development of younger schoolchildren makes it possible to favorably influence the formation of the personality of a growing person through a system of classes, to trace the dynamics of changes in personality development, and to obtain grounds for predicting the further course of the child's mental development.
Techniques and methods of working with children correspond to the age and individual psychological characteristics of younger students.
Thematic planning for grade 2
Topic name |
Number of hours |
|
Acquaintance |
||
Object and its features |
||
The natural and technical world |
||
Object and its features |
||
Material |
||
Purpose |
||
Human Resources |
||
sense organs |
||
Thinking |
||
Attention |
||
Imagination |
||
Independent creative work |
||
Fantasizing techniques |
||
On the contrary, fragmentation-combination |
||
Animation, movable - immobile |
||
Shift in time, increase-decrease. |
||
Problem solving |
||
Methods for activating thinking |
||
Selection method, morphological analysis |
||
Focal object method |
||
Independent creative work |
||
Thematic planning for grade 3
| the date | Topic name | Number of hours |
| September | Repetition | 1 |
| System | 8 | |
| Systems function | 1 | |
| System Resources | 1 | |
| Perfect end result | 1 | |
| October | Problem solving | 2 |
| System - man | 1 | |
| 1 | ||
| November | 1 | |
| Laws of systems development | 10 | |
| Law of Systems Development | 1 | |
| Law of Completeness of Parts | 1 | |
| 1 | ||
| December | Law of S-shaped development of systems | 1 |
| January | The law of agreement - mismatch | 1 |
| 1 | ||
| 1 | ||
| Problem solving | 2 | |
| Independent creative work | 1 | |
| Modeling | 10 | |
| Order in the "brain attic" | ||
| Algorithm | 1 | |
| Formulation of the problem | 1 | |
| February | Models | 1 |
| March | Task Models | 1 |
| April | Modeling by little people | 3 |
| Problem solving | 1 | |
| April | Independent creative work | 1 |
| Analogues | 6 | |
| Analogues | 1 | |
| Nature and technology | 2 | |
| Analogues in creative tasks | 2 | |
| May | Independent creative work | 1 |
| Results: | 34 |
Topics for parent meetings in grade 2
Topics for parent meetings in grade 3.
The use of creative tasks in the educational activities of younger students
Thematic series |
Job types |
Possibilities of educational subjects |
|
"Theatrical" |
Creation of theatrical effects, development of costumes for scenery, staging finds |
Cognition, creation, transformation, use in a new capacity. |
Artistic work, literary reading. |
"Natural World" |
Finding correspondences between natural and technical objects, studying the possibilities of natural analogues for the development of technology |
Creation, transformation |
The world |
"Narnia" |
Relationship analysis heroes of the works of Clive Staples Lewis |
knowledge, creation |
extracurricular reading |
"Winnie the Pooh decides out loud" |
Solving problems in fairy-tale situations from the works of J. Rodari, L. Carroll, A.A.Miln, J.Tolkien, A.Lindgren, N.A.Nekrasov, Russian folk tales, myths of ancient Greece; writing fairy tales, stories |
Creation, transformation, use in a new capacity |
Literacy education Literary reading |
"Natural World" |
The study of animals, the formation of a humane attitude of man to nature, the cultivation of cultivated plants, the study of the senses. memory. thinking, attention, natural and social features person; studying the problems of people with disabilities |
Cognition, creation, transformation, use in a new capacity |
literacy education, The world Literary reading Russian language |
“Puzzles” |
Solving and compiling tasks for attention, encryption puzzles, tasks with matches, charades, crosswords |
Creation, transformation |
Maths The world Literacy education Literary reading Russian language |
"Signs" |
The study of the signs of objects (colors, shapes, sizes, materials, destinations, location in space, natural phenomena; drawing up riddles, metaphors, comparisons |
Knowledge, creation, transformation, new use |
Maths The world Literacy education Literary reading Russian language |
"Space" |
Studying the problems associated with human spaceflight: troubleshooting, water supply, operation of equipment in conditions of other planets; performance in a state of weightlessness |
Creation, transformation, use in a new capacity |
Literacy education Artistic labor The world |
"Land of Unfinished Business" |
Consideration of problems identified by students from various fields of knowledge |
Transformation, use in a new capacity |
The world |
