Development of creative abilities of younger schoolchildren in extracurricular activities. Basic concepts and terms
Olga Sergeevna Zheglova
Development creativity junior schoolchildren
The theme of the extended day was and remains topical. A lesson, of course, is a necessity for both the teacher and the child. Extension is a different kind of necessity. The stay of a child in an extended day group helps the process of becoming a person, guarantees his safety and health. The main time in the afternoon should not be absorbed by self-study, doing homework, but should contribute to the development child's personality traits development of creative abilities, communication skills.
Nature creativity not fully explored, although creative thinking is the highest manifestation of the human phenomenon. The whole history of mankind is history creativity. Based on the clues of nature, people invented and began to improve tools and household items. As development society, problems appeared that became more difficult to solve only by trial and error than by simple imitation of nature. New challenges require a deeper, more meaningful and creative solution.
Development of creative abilities- an important task primary education, because this process permeates all stages child personality development, awakens initiative, independence of decisions, the habit of free expression, self-confidence.
Outside of the lesson, children can organically realize their identity in games, creative pursuits, free communication. Anyone who does not get along well with mathematics will turn out, for example, to be a cheerful entertainer, a storyteller. And those who do not read smartly will amaze their comrades with fiction, crafts made by their own hands. But, you and I perfectly understand what to do fruitfully in an extended day group of 4-6 hours, it is difficult for both children and educators. And this is where various methods come in handy. means of education that contribute to the development of the creative potential of the child.
Changing activities is important. In my work with children, I use the following: applique, origami, solving puzzles, crossword puzzles, drawing in various techniques, sports games, indoor and outdoor relay race games.
Fine creation children are basically decorative, colorful. Proceeding from this, in the subject of classes, I try to include tasks of decorative, creative character: I involve the means of folk art, as well as include tasks for illustrating fairy tales, stories, poems, drawing by observation, representation, memory.
In my work I use a series of books "I am learning to draw", all kinds of stencils. The children redraw with great pleasure. Some come up with whole pictures, plots. The guys and I make books - home-made books based on fairy tales, poems. First grades attend theater "On the Neva", after watching the performance, I ask the guys to remember what they watched and draw it on paper. Next, a book is compiled - homemade, stitched together, a story is compiled together with the teacher or the children write it on their own.
When drawing, you can take part in the discussion. A great moment to analyze the works, their defenses. Here, each child is an individual, each unique. How much fiction, fantasy, ingenuity children will show. But it is not easy to understand these drawings. For every child starting create, it is important to find a kind word and a practical hint. The essence of drawing in a group does not require the execution of standard programs. And manifestations creativity, their emancipation. Greatest satisfaction provide children with activities that contribute to the diversified development, give work to the hands and head, meet their personal interests and inclinations.
Many children say: "I like it so. I don't like being forced". There is no limit to children's imagination. And then they try to defend their work, explain. Why is one of them happy and the other sad? And when children see the results of their work, they gain self-confidence.
Other forms can be included in the lesson plan work: sculpt from plasticine, work in the origami technique, design using all kinds of sets of designers. This, in my opinion, is one of the favorite activities of many children. There is no limit to the imagination of children here. Work individually, but mostly in groups (collectively). It turns out original crafts, which they then beat. We all try to create together, unitedly. I stick principle: "Guys let's be friends".
In the course of self-training, it is necessary to conduct games on development of attention, memory, thinking, physical minutes, poetic pauses, tasks of a fabulous nature, funny tasks, games - travel. The value of the self-training game can hardly be overestimated. Here child's horizons develop, ingenuity. The game makes it possible to switch from one type of activity to another and thereby relieve fatigue. But the main thing is the game helps to assimilate and consolidate knowledge in all subjects.
I offer some tasks that I like very much children:
1. On development attention - speed reading training, various mazes, exercises with vowel and consonant tables, tasks for restoring signs, numbers, letters,
2. For development memory - mathematical words, repeat after me, continue "chain" interrelated words, consider an unfamiliar object and describe it, consider a reproduction of a picture and describe from memory, illustrate a fairy tale, a story with stylized drawings, gestures, facial expressions,
3. For development thinking - continue a series of numbers, compare conditions and solutions to problems, highlight a group of numbers. Words by feature, compare expressions without performing calculations.
Necessary develop children have the ability to correctly express their thoughts, justify their opinions, the ability to conduct a discussion, communicate with adults and peers. Here it is necessary to use the potential of each student. To do this, provide for tasks of varying complexity, additional tasks increased complexity giving children the right to choose. Let not everyone cope with the task, but this is not necessary. The main thing is that the guys can choose a task according to their abilities. Children have different interests and aptitudes. It is important for an adult to identify the characteristics of each. All children are talented, reveal this talent. We must help open up.
I really like the statement of the wonderful teacher Sh. A. Amonashvili “Kids should be put at the desk only in order to create the most favorable conditions for timely development of their creative inclinations which at this age begin to awaken and which are important for further successful advancement in their cognitive activity.
So, the use of various forms, means, contribute to the activation of creative thinking will enable students to master the following qualities:
1. the ability to freely adapt in society,
2. the ability to see the world from different angles,
3. the ability to feel the problem and try to solve it yourself,
4. notice the beauty of the surrounding world and be interested in it,
5. be kind to nature.
Related publications:
Development of creative abilities At present, the range of innovative educational programs, technologies, and methods aimed at developing common and.
The development of phonemic perception in younger students Consultation for parents Topic: Development of phonemic perception of younger students. Purpose: familiarization with the features of the development of phonemic.
Development of artistic and creative abilities of pupils“The spiritual life of a child is full only when he lives in the world of play, fairy tales, music, fantasy, creativity. Without it, he is dry.
Development of the child's creative abilities Purpose: to promote the formation of parents' ideas about the development of creative abilities in children of average preschool age. Tasks:.
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
Appendix
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 innovation processes taking place in 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 are widely used, problem methods learning, collective creative activities in extracurricular activities that contribute to the development of creative activity of younger students,
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, a special place is occupied by the lessons of the Russian language and reading in primary school.
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 practice primary education determined 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;
Ensuring the inclusion of younger students in creative activity, in the process of which creative tasks are solved;
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 laws of the surrounding reality are revealed, connections between phenomena that were considered unrelated to each other are established and explained. 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 the products for the most part. 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, which combines 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, etc. 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. Quickness - the ability to express maximum amount 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, when solving a problem, not just to choose from alternatives imposed from the outside, but to 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. The ability to express 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 developing 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 each student’s idea 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 attached to the following content of the program: understanding one’s own and others’ thoughts, feelings and actions, interpersonal relationships and laws of development of the world:
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 of various aspects of 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, history of culture, literature, art, Russian and foreign natural sciences. The predominant method of teaching is problem-dialogical as the most appropriate to nature creative development child .
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 of 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, carried out using various research methods (measurement 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 "creative abilities", which implies the student's desire to think in an original, non-standard way, independently seek and make decisions, show cognitive interest, discover new things that are 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 perform tasks of a creative nature in an original way, to activate the creative imagination of students, to 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 | Middle 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 enhancing 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.
Another important condition for the development of precisely 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 implementing the principle of problematicness 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 independent solution 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 the exercises in the Russian language, conveys the content 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 was before her first coming to the lake, and also further fate ducks. “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 research activities 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.
The 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 an appropriate 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 keep in his mind the 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 literary creativity 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 theoretical basis formation of creative abilities of younger schoolchildren and identifying the pedagogical conditions of 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 carrying out experiments 1 and 2 showed that as a result of the use of 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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Applications
Appendix 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 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 fairy tale and cartoon characters). 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 general level 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.
Annex 3
Method "Three words"
This is a test game to evaluate creative imagination, logical thinking, vocabulary, common development. The students were offered three words and asked them to write as soon as possible. largest number meaningful phrases, so that they include all three words, and together they 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 the epic and individual episodes according to the plan, read expressively the texts of the epic 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 (fairy 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 appearance hero and 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 shape 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 the words that speak about the magical power of the horse 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 "Heroes", 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. Amazing! 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 min.)
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 min.)
(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 their level of erudition and literary development, check yourself, 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 they 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 the classroom visual arts. 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 ingenuity, 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 of folk tales is the 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 of the oral creativity of the Russian people has opened.
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. People 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 the main reason for 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." (A 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 not have a good 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 | Middle level | |
| Levels | |||||
| 1 | Kira K. | Short | Short | Short | Short |
| 2 | Julia K. | Average | Average | Average | Average |
| 3 | Sergey. WITH. | Average | Average | Average | Average |
| 4 | Anton. G. | Average | Average | Average | Average |
| 5 | Olga. Sh. | Average | Tall | Average | Average |
| 6 | Ludmila B. | Average | Average | Average | Average |
| 7 | Vyacheslav N. | Tall | Tall | Tall | Tall |
| 8 | Pavel S. | Tall | Tall | Tall | Tall |
| 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. | Tall | Tall | Average | Tall |
| 16 | Nicholas S. | Tall | Tall | Tall | Tall |
| 17 | Yura L. | Short | Short | Average | Short |
| 18 | Valery T. | Tall | Tall | Tall | Tall |
| 19 | Eugene B. | Average | Short | Short | Short |
| 20 | Mark T. | Tall | Tall | Average | Tall |
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 | Middle level |
| Levels | |||||
| 1 | Nicholas B. | Tall | Tall | Tall | Tall |
| 2 | Sergey A. | Average | Average | Average | Average |
| 3 | I am above. | Average | Tall | 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. | Tall | Tall | Tall | Tall |
| 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. | Tall | Tall | Average | Tall |
| 16 | Roman K. | Tall | Tall | Tall | Tall |
| 17 | Glory S. | Short | Short | Short | Short |
| 18 | Ulyana F. | Tall | Tall | Tall | Tall |
| 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 | Middle level | |
| Levels | |||||
| 1 | Kira K. | Average | Tall | Short | Average |
| 2 | Julia K. | Average | Average | Average | Average |
| 3 | Sergey. WITH. | Average | Tall | Average | Average |
| 4 | Anton. G. | Average | Tall | Average | Average |
| 5 | Olga. Sh. | Average | Tall | Average | Average |
| 6 | Ludmila B. | Average | Average | Tall | Average |
| 7 | Vyacheslav N. | Tall | Tall | Tall | Tall |
| 8 | Pavel S. | Tall | Tall | Tall | Tall |
| 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. | Tall | Average | Average | Average |
| 14 | Julia D. | Average | Average | Average | Average |
| 15 | Michael K. | Tall | Tall | Average | Tall |
| 16 | Nicholas S. | Tall | Tall | Tall | Tall |
| 17 | Yura L. | Short | Short | Average | Short |
| 18 | Valery T. | Tall | Tall | Tall | Tall |
| 19 | Eugene B. | Average | Average | Short | Average |
| 20 | Mark T. | Tall | Tall | Average | Tall |
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 | Middle level |
| Levels | |||||
| 1 | Nicholas B. | Tall | Tall | Tall | Tall |
| 2 | Sergey A. | Average | Tall | Average | Average |
| 3 | I am above. | Tall | Tall | Average | Tall |
| 4 | Alexander B. | Tall | Average | Average | Average |
| 5 | Oksana S. | Tall | Tall | Tall | Tall |
| 6 | Sergei Zh. | Average | Tall | Average | Average |
| 7 | Tatyana T. | Tall | Tall | Tall | Tall |
| 8 | Daria G. | Tall | Average | Average | Average |
| 9 | Alexey I. | Tall | Tall | Tall | Tall |
| 10 | Alexey K. | Average | Average | Average | Average |
| 11 | Natalya P. | Tall | Tall | Tall | Tall |
| 12 | Olga K. | Average | Tall | Average | Average |
| 13 | Inna K. | Average | Average | Average | Average |
| 14 | Elena G. | Tall | Average | Average | Average |
| 15 | Elena O. | Tall | Tall | Average | Tall |
| 16 | Roman K. | Tall | Tall | Tall | Tall |
| 17 | Glory S. | Average | Average | Average | Average |
| 18 | Ulyana F. | Tall | Tall | Tall | Tall |
| 19 | Gleb D. | Average | Average | Average | Average |
| 20 | Daniel Sh. | Average | Average | Average | Average |
UDC 37.015.3
L. G. KARPOV
Omsk Humanitarian Academy
DEVELOPMENT
CREATIVE ABILITIES OF YOUNGER STUDENTS_
This article substantiates the relevance of the development of creative abilities, taking into account modern realities. The ideas about this phenomenon that have developed in the psychology of creativity are outlined. The psychological essence of creative abilities, their structure, the main indicators of the development of creative abilities of younger schoolchildren are considered. This article may be useful to teachers working in the primary education system, students and graduate students of psychological and pedagogical specialties.
Keywords: creative abilities, structural components of creative abilities, indicators of creative abilities, creative abilities development program, methods active learning.
Today, society needs initiative, creative people who are able to think in an original way and find ways out of non-standard situations. And this phenomenon must be studied from childhood, since the self-promotion of each student in his development is ensured, the foundation is laid, which includes openness to experience, sensitivity to everything new, new knowledge, improvisation, increased emotional positivism towards one’s own and others’ creative successes, the desire to create creative product. Hence, the actualization of the creative abilities of younger schoolchildren can improve the quality of any social reforms, while acting as a counterbalance to the regressive lines of development of society.
However, in the modern school, work according to given standards, according to ready-made rules and schemes, prevails, there are practically no programs aimed at developing the creative abilities of students, at developing their independence of choice, courage in judgments. The development of creative abilities of younger schoolchildren can be constrained by a factor related to the need to master a large amount of knowledge in the conditions of school education, while educational activities are strictly regulated, a standard assessment system is in place, various restrictions and barriers are in place. School teachers, especially in rural areas, have practically no conditions for their own creativity, therefore, children have a reduced opportunity to develop creative abilities not only in educational and extracurricular activities, but also through imitation of a creative teacher.
To date, some general emphases in the study of creative abilities have been defined in psychological science: it is emphasized that the basis for their occurrence is creative inclinations (biological prerequisite), it is noted that creative abilities play an important role in determining the success of a person in a particular activity, in creating material and spiritual culture.
At the same time, a unified point of view on the content and structure of creative abilities has not yet been developed;
the certainty of this concept, there are practically no studies tracing the development of the creative abilities of younger students over several years.
In psychological science, creative abilities are understood as the ability to carry out situationally unstimulated activities, i.e. the ability to cognitive initiative (Bogoyavlenskaya D. B.); as a general creative ability capable of transforming knowledge (Druzhinin V.N.); component of creativity (Ermolaeva-Tomina L. B.).
An analysis of the psychological and pedagogical literature showed that creativity should be considered as a polystructural education. This education may include the following components: cognitive, emotional and motivational. Let's take a look at these components.
The cognitive component includes knowledge, skills and abilities that help the younger student to be realized in various activities. The indicators of the cognitive component are creative thinking and imagination, with the help of which students are able to transform their activities and solve non-standard tasks.
The emotional component of creative abilities is the attitude of younger students to the activities performed, to the creative teacher and the child's tendency to express themselves emotionally in the process of performing non-standard tasks. Creative tasks are expressive in nature, so students experience various emotions. Emotional experiences help the younger student to respond constructively to situations of novelty and uncertainty, to better understand their own experiences, which contributes to the individualization of their experiences and the effective development of creative abilities. The positive emotional attitude of the child to the creative adult and his support from the latter also makes it possible for the younger student to emotionally express himself in creativity.
The motivational component of creativity is a system of incentives, including motives, interests, needs.
The main component of this component is motives - the inner stimuli of the younger student to creative activity, related to the satisfaction of his need for creativity.
Changing these components entails a change in creative abilities as a whole.
Therefore, creativity can be defined as an integrative, dynamic formation, including cognitive, emotional and motivational components, formed on the basis of creative inclinations and determining the success of any activity of a creative nature.
The development of the creative abilities of younger schoolchildren is a dynamic process in which there is a regular and qualitative change in the structural components of the phenomenon under study in the process of a specially organized activity that has a creative aspect.
We assume that this process, like any other development, is carried out simultaneously with the development of the child's personality and continues throughout his life at all age stages. At the same time, creative activity is a necessary aspect of a healthy and harmonious human life.
To identify the level of development of a particular phenomenon, including the level of development of the creative abilities of younger students, it is necessary to determine the indicators of the latter.
Based on the essence of the concept of "creativity", their structure, age features children of primary school age, we determine the following indicators of the development of creative abilities of younger students: originality (the ability of a younger student to give unusual answers that require creativity), abstractness of the name (the ability to transform figurative information into verbal information), creative thinking; non-verbal imagination (transformation by the younger student of ideas, creation of new images by him), emotional attitude towards the creative teacher (positive or negative emotions that arise in the younger student towards the teacher in the process of interaction), the manifestation of emotional experiences in creative activity (the emotional state of the child associated with various forms of its inclusion in creative activity) and creative motivation (internal stimuli of a younger student to creative activity, related to satisfying the need for creativity).
In an effort to find out how the creative abilities of younger students develop in conditions rural school We have carried out an experimental study.
On the basis of the above indicators, at the ascertaining stage of the experiment, junior schoolchildren were dominated by a low level of development of creative abilities. Further, the students were included in the formative stage of the experiment, during which during 2013 - 2014 the author's program "Development of creative abilities of younger students" was used.
The program was based on the individual psychological theory of abilities of B. M. Teplov, according to which creative abilities are defined as a set of individual psychological characteristics of a person that distinguish him from other people existing on the basis of creative
inclinations and determining the success of mastering various types of activities, where the main thing is to create something new, original.
When developing the program, we also relied on the study of E. L. Yakovleva, according to which the development of creative abilities is one of central lines personal development and allows a person to express their individuality and uniqueness. In addition, E. L. Yakovleva emphasizes the role of the teacher in the development of the creative potential of the child, who demonstrates patterns of behavior, means of expressing his individuality, accepts and supports any children's emotional manifestations, which ensures his emotional self-expression.
Taking into account the fact that creative abilities are manifested and developed in creative activity, we assume that a younger student, relying on the acquired and accumulated knowledge and skills, in the process of creative activity is able to destroy rigidly fixed norms and go beyond them into new areas of knowledge, that is, to create something new and original.
The basic methods were active learning methods: role-playing games, the method of heuristic questions, inversion.
A significant role was assigned to the role-playing game, the essence of which was as follows: a problematic situation was created in which the participants played it in roles. The result of the game was a discussion during which the creative behavior of the participants and the proposed solutions were analyzed. The participant could play many roles during the game, thanks to which he formed new skills and abilities, the player was reincarnated into various characters in accordance with the chosen role, which testified to the creative aspect of the role-playing game.
The use of role-playing games in the program led to the development of a new playing space, and when entering a new role, also to an assessment of their own role-playing behavior, modeling both real and imaginary roles, while the children went beyond the familiar and known, improvised, which contributed to the development of creative abilities.
Children showed great interest in the method of heuristic questions, which is used to collect information in a problem situation, as well as to streamline the available information in the process of solving creative problems. The younger students were offered questions that needed to be combined in a certain sequence, which contributed to the generation of new, sometimes unexpected questions.
In addition, the inversion method was used, which involves rearranging words, considering well-known stories, fairy tales, events, opposite to what is in reality. With the help of this method, children learned to think outside the box, to express more options stories, sought to take a fresh look at the known.
We also note that the integrated nature of the classes allows elementary school students to show their creative abilities in the framework of visual activity, namely, in the manufacture of crafts, collages, and drawings.
In the implementation of the program, a large role is assigned to the teacher, since in elementary school
growing children tend to imitate him. Classes were held outside school hours, therefore, the rules were not observed, and the children could successfully complete and positively relate to their creative product. The teacher sought to encourage independent thoughts and actions of younger students, did not interfere with the child's desire to do something in his own way, and maintained a positive microclimate. In addition, the creative teacher used active learning methods and allowed children to observe their own creative process, while demonstrating a pattern of creative behavior and creating new creative products in the presence of students.
At the end of the program, a re-diagnosis of the development of creative abilities of younger students was carried out. At the control stage of the experiment, there is a positive dynamics in the development of creative abilities of younger students in both groups, but in the experimental group the results are much higher. The dominant high level of development of creative abilities in the experimental group was noted in terms of "fluency", in other indicators the average level of development of creative abilities dominates. The low level of development of the studied phenomenon in this group decreased significantly, and the high level increased significantly in all indicators compared to the control group. Therefore, it can be stated that during the implementation of the program in the process of activity in the children of the experimental group, at the end of the formative experiment, all components of creative abilities developed, which may also indicate the development of the phenomenon under study as a whole.
To confirm the reliability of the obtained data, we used the Fisher angular transformation criterion. At the ascertaining stage of the experiment, the results obtained made it possible to reliably state that the level of development of indicators of creative abilities in younger students in the experimental and control groups is approximately the same. At the control stage of the experiment, the results testified to the reliability of the difference in the levels of development of indicators of creative abilities in children of the experimental and control groups.
So, at the end of the experimental study, the children had an increased interest in creativity, a desire to create their own creative product, expand their knowledge, participate in creative competitions of the district and regional
level. Younger students also became more active in the lessons of not only music and drawing, but also mathematics and the Russian language. Most of the students participating in the experiment began to attend institutions of additional education, which indicates the practical significance of the study.
This experimental study showed that living in a rural area is not a barrier to the effective creative activity of a teacher, if the latter is a creative person. With the systematic work of a creative adult with children, their creative abilities are effectively developed, regardless of where they live.
Summing up, it should be noted that systematic work in elementary school to develop the creative abilities of younger students makes it possible in the future for today's children to become competitive in the labor market and strengthen the personal resource of our state.
Bibliographic list
1. Bogoyavlenskaya, D. B. Psychology of creative abilities [Text] / D. B. Bogoyavlenskaya; Psychological Institute of the Russian Academy of Education. - Samara: Fedorov, 2009. - 414 p.
2. Druzhinin, VN Psychology of abilities: selected works. [Text] / V. N. Druzhinin; resp. ed. : A. L. Zhuravlev, M. A. Kholodnov, V. D. Shadrikov. - M. : RGB, 2009. - 652 p.
3. Ermolaeva-Tomina, L. B. Psychology of artistic creativity [Text]: textbook. manual for universities / L. B. Ermolaeva-Tomina; Moscow Open Social University. - M.: Culture: Academic project, 2005. - 302 p.
4. Antilogova, L. N. Extracurricular activities as a factor in the development of creative abilities of younger schoolchildren / L. N. Antilogova, L. G. Karpova // Science of Man: Humanitarian Studies. - 2013. - No. 3 (13) - S. 71 - 77.
5. Teplov, B. M. Abilities and giftedness [Text] / B. M. Teplov // Reader in psychology; ed. A. V. Petrovsky.- M .: Education, 1987. - S. 281 - 286.
6. Yakovleva, E. L. Psychology of the development of the creative potential of the individual [Text] / E. L. Yakovleva. - M. : Flinta, 1997. - 224 p.
KARPOVA Lyudmila Grigorievna, Candidate of Psychological Sciences, Associate Professor of the Department of Pedagogy, Psychology and social work. Address for correspondence: [email protected]
The article was received by the editors on January 28, 2015. © L. G. Karpova
Bookshelf
Lopatin, D.N. Organizational behavior: textbook. electron. ed. local distribution: textbook. allowance / D. N. Lopatin. - Omsk: OmGTU, 2014. - 1 o=el. opt. disc (CD-ROM). - ISBN 978-5-8149-0949-7.
The main components of the corporate organizational environment and their influence on the formation of corporate culture are considered. Shows the main types of workers, groups, teams, leaders, the main difficulties in the transfer of information between them and ways to eliminate them. The characteristic of the main styles of management is given. It is intended for students of specialty 080507 "Organization Management" of all forms of education, and can also be used by students of economic and technical specialties studying the discipline "Management", and undergraduates studying under the program "Economics" of direction 080108.68 "Enterprise Management and Industrial Informatics".
DEVELOPMENT OF CREATIVITY
JUNIOR SCHOOLCHILDREN
An important period in the development and formation of personality is the initial period of learning. It is this age that lends itself most to the upbringing and development of the creative abilities of the child.Abilities are understood as 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.Children of primary school age are the most open and receptive and curious. To develop the creative abilities of children, it is necessary to create a situation of interest. Developing education is aimed at ensuring that children not only memorize facts, learn rules and definitions, but also learn rational methods of applying knowledge in practice, transferring their knowledge and skills both to similar and changed conditions.
Creative abilities are manifested in solving creative problems, but the optimal condition for the intensive development of the creative abilities of schoolchildren is their systematic, purposeful presentation in a system that meets the following requirements:
Cognitive tasks should be built mainly on an interdisciplinary, integrative basis and contribute to the development of the mental properties of the individual;
Tasks should be selected taking into account a rational sequence: from reproductive, aimed at updating existing knowledge, to partially search;
The system of cognitive tasks should lead to the formation of the following most important characteristics of creative abilities: fluency of thinking, mental flexibility, originality, curiosity, the ability to put forward and develop hypotheses.
A creative approach to children will help solve a number of problems, namely: develop independent thinking, imagination, speech, help establish trusting relationships between a child and adults, allow children to communicate freely with each other, show criticism and self-criticism, freely express their opinions.
Abilities are educational and creative. They are different from each other. The former determine the success of training and education, 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. A high level of ability development is called talent.
Primary school age remains favorable for the development of creative abilities. Children, unlike adults, are able to express themselves in various activities - educational, artistic. They are happy to perform on stage, participate in concerts, competitions, exhibitions and quizzes, subject Olympiads. Teachers and adults should remember that the developed creative imagination, typical for children of primary school age, gradually decreases as a person grows up. Along with the decrease in the ability to fantasize, the personality becomes "impoverished", interest in art and science fades.
The range of creative tasks solved at the initial stage of education is unusually wide in complexity - from solving a puzzle, to inventing a new machine or scientific discovery. Their essence is the same: when solving such problems, creativity is experienced, new way or create something 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 - all that in the aggregate constitutes creative abilities.
Creativity develops in creative activity, when performing various creative tasks. 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.” This rule can be applied to the educational process. According to them, it is possible to develop the creative abilities of a younger student in three stages.
At the first stage, children should gain basic knowledge in a particular area, get acquainted with the concepts and their properties. For the first stage of the development of creative abilities, we offer the following tasks: Classification of objects, Establishment of situations, phenomena for various reasons. See relationships and identify new connections between cause and effect relationships. Identify and highlight the opposite features of the subject systems. to do the contemplation various systems in development, to form contradictions. Separate the contradictory properties of the objects of the sentence of a predictive nature. Represent spatial objects in space and time.
At the second stage, children are offered tasks based on the previous stage. When children have an idea about certain concepts, they can be offered to make drawings for poems; tours; tasks such as: colorful design of essays in the Russian language, etc.; compiling crossword puzzles; participation in didactic and plot- role playing in the classroom and after school hours; in competitions, olympiads, etc.
At the third stage, children are offered tasks in which they themselves are the creators of the "new product". Here, children can be offered the following tasks: draw a car of the future, come up with the new kind chocolate, compose a riddle, a fairy tale, etc.
For the development of creative abilities of children of primary school age, only the first two stages can be used, but for the best result in the development of creative abilities, the work of a teacher should be built taking into account all of the above three stages. Most importantly, when choosing creative tasks, the following requirements should be considered:
Daily and systematic inclusion of creative tasks and exercises in the educational process; - try to use the creative potential of the child in accordance with the level of his development (feasibility of performing a creative task); - creative tasks should gradually become more difficult; - when evaluating the creative work of students, note the positive aspects (the shortcomings of the work performed by the child should be spoken about correctly, since a sharp remark can discourage the student from doing creative tasks in the future); - involve the family in the performance of creative tasks. Conduct outreach to parents.
Each teacher who strives to develop the student's creative abilities can use the following types of lessons in their practice:
creative workshops;
integrated lessons;
extracurricular work ( cool watch organization of class and family holidays).
Integrated lessons play a very important role in the development of creative abilities. Integration is a means that provides a holistic knowledge of the world and the ability of a person to think systematically when solving practical problems. During an integrated lesson, children try to reveal their creative potential more fully, they feel more relaxed. When using integrated lessons, the following positive aspects of integration can be distinguished:
1. Thanks to integration, a more active and comprehensive picture of the world is formed in the minds of students.
2. The guys begin to actively apply their knowledge in practice, because knowledge more easily reveals its applied nature.
3. The teacher sees and reveals his subject in a new way, more clearly realizing its relationship with other sciences.
4. Integrated lessons allow the teacher to reduce the time for studying individual topics, eliminate duplication of material in different subjects, pay more attention (in various forms) to the goals that the teacher highlights in this moment learning (thinking creativity, etc.).
5. Integrated lessons relieve fatigue.
6. An integrated lesson provides a completely new psychological climate in the learning process and creates new conditions for the activity of the teacher and students.
A special role in the development of creative abilities is played by the preparation and holding of class holidays. AT modern world there are many different proposals for holding holidays, but the most memorable are those events where children themselves are actors. During the preparation for the holidays, students become liberated, they make their own costumes and make scenery for skits, compose contests for their classmates and parents. The main task in this work is to attract to work more students so that no one is left behind. Very often, creative tasks require the child to use special abilities, for example, the student is offered to make a drawing for one of the literary works. Not every child can do a job very well, but at the same time everyone wants his work to be the best. In such situations, parents can come to the aid of a younger student. Therefore, the importance of the attitude of the older generation to the problems of developing creative abilities is great. Some parents can contribute to the development of creative abilities, while other parents, with their indifferent attitude, can discourage the child from performing creative tasks and creative abilities will gradually fade away. In this case, the teacher needs to conduct explanatory work. In this regard, I offer you recommendations that can be discussed at the parent meeting:
Answer your child's questions honestly and patiently.
Take your child's questions and statements seriously.
Provide a room, a corner exclusively for him.
Make a stand where the child can show their work.
Don't scold the mess if it's related to creativity.
Show the child that he is perceived, of course, as he is, and not for success or achievement.
Assign feasible tasks and worries.
Take it on trips to interesting places.
Help your child communicate with children of different cultural backgrounds.
Do not compare your child with others, while pointing out his negative qualities.
Do not humiliate or let him feel that he is worse than you.
Learn to think for yourself.
Provide games, books...for your favorite activities.
Encourage your child's imagination, fantasies, dreams.
Get used to reading.
Be attentive to the needs of the child.
Find time each day to be alone with your child.
Include your child in family discussions.
Learn to communicate with people of all ages.
Design experiments with children.
Don't stop playing with junk.
Do not limit the topics of discussion with children.
Give children the opportunity to make their own decisions.
Summarizinghis article suggests the following conclusions:
each teacher needs to develop students' creative abilities, since it is easier for a creative person to adapt in society and resist negative circumstances, to find positive ways out of difficult situations, he is capable of self-realization of his abilities, self-development.
It is possible to develop the creative abilities of younger students both in the classroom and outside of school hours. Offering them a variety of creative tasks, there is a formation of such important personal qualities as responsibility, independence, there is an interest in school subjects. Taking part in competitions, children begin to understand the importance of the educational process. The development of creative abilities in primary school age is influenced by the creative approach of the teacher to pedagogical activity and the attitude of the family. Thus, working on the development of the creative potential of younger students, we ultimately get a comprehensively harmoniously developed personality, able to quickly adapt to the rapidly changing conditions of the modern world.
List of used literature:
Azarova L.N. How to develop the creative individuality of younger students // Elementary School, 1998, No. 4 pp. 80-81.
Afonina R. N.//Magazine "Primary School", No. 6, 2007 (p.56-60).
Galperin P.Ya. Step-by-step formation as a method of psychological research//Actual problems of developmental psychology - M., 1987.
Ilyichev L.F. , Fedoseev N.N. Philosophical Encyclopedic Dictionary, M. 1983. . P.649. 5. Merlin Z.S. Psychology of individuality - M. - 1996. P.36.
Mironov N.P. Ability and giftedness in primary school age. // Primary school. - 2004 - No. 6. С33-42.
Nemov R.S. Psychology-M.-2000, p.679.
Tyunikov Y. Scenario approach in pedagogical influence // Pedagogical technique, 2004, №2, p. 87-88.
Khutorsky A.V. Development of creative abilities. - M. Vlados, -2000 - p.22.
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
Appendix………………………………………………………………………..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 urgent need of society for creatively developed "creative" people and, in fact, poor methodological support of the modern elementary school with 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 to the characteristic features of 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 mined 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 problems. specific tasks. 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 elementary 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, a new education system is being formed in Russia, the Federal State Educational Standard is being introduced. The Standard is based on a system-activity approach, which involves: a variety of organizational forms and accounting individual characteristics 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 activity.
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 educational psychology there are a number scientific directions developing the problem of the formation of creative abilities: this is developmental education (V.V. Davydov, L.V. Zankov, D.B. Elkonin), problem 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, features of the type 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, it can be concluded that at the moment there is 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 we need educated, moral, creative people who can independently make 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.
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;
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. Manifestation cognitive activity The teacher should encourage 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. It is during the school years that 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 processing data.
This study was conducted in the branch of the municipal educational institution of the secondary school of the village of Khrushchevka in the village of Kruty 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 phone, 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.
Minimal amount points scored - 17, maximum - 85.
Low level: 17 - 34 points; Average level: 35 - 60 points; High level: 61 - 85 points.
Diagram 3
An analysis of the results of the parents' survey 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 be reflected in 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, turning 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 technologies of education;
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 person. 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
Appendix 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 | ||||||
| Shows the ability to detailed story or retelling stories. facts | ||||||
| Can have "intelligent" conversations with other children, adults | ||||||
| Prone to serious thinking, interested in complex, global issues(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 use 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 lessons |
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| Stages | Educational and developmental components | Teacher activity | Activity | organizations action | Universal | Intermediate |
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| I. Organizational moment | Teacher preparation - Xia to us- warfare of the studied material. Messages nie themes 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 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. Study of 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 type 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 the hairstyle and jewelry in it one could judge social status Japanese women. 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. Gun- electrical appliance. Attention! The gun warms up in about 3 minutes. During the operation of the gun, the nozzle becomes very hot! Therefore, do not touch the tip of the glue gun and the melted glue 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. | ||||||||||||||||||||||
