As a rule, in all definitions of creativity it is noted that this is an activity that results in the creation of a new, original product of social significance. It can be new knowledge, an object, a method of activity, a work of art, etc.

If we consider children's activity from the standpoint of objective novelty and significance, then, of course, it cannot be called creativity. Drawings, crafts of children are not works of art, they have no artistic value. On this basis, a whole trend in psychology and pedagogy denied the possibility of creativity in preschool childhood.

However, many scholars held different views. They argued that children's creativity is perfect in its own way. The child, inheriting the richest experience of mankind, repeating the stages of its development (biogenetic theory), only manifests this generic experience at different periods of his life. Therefore, children's products, being a concrete embodiment of generic experience, are perfect and equivalent to the activities of an adult. On this basis, the need for any kind of influence on the activities of children was denied; the role of an adult in the development of children's creativity was completely denied. The theory of free education in artistic activity had different justifications. One of them is the recognition of the perfection of the child's artistic activity.

A peculiar manifestation of the same position was the discussion that unfolded in the 60s on the pages of the journal "Creativity", which opened with an article by the famous artist N.N. Zhukov "No, this is art." Artists, seeing the loss in children's creativity caused by the intervention of adults, opposed any teaching of kids. Something happened that E.A. warned about back in the 40s. Flerina, a talented teacher, subtly feeling children's fine arts. Education "dried" children's creativity. N.P. Sakulina, recognizing the legitimacy of criticism of teachers, argued that it is necessary and possible to search for such ways of interaction that, on the one hand, will preserve the advantages of children's creativity, and on the other hand, help the child master the means of self-expression. Only in this case, the full development of the baby, and in particular creative development, is possible. At the same time, following L.S. Vygotsky, B.M. Teplov, E.A. Flerina and others, she recognized the originality of children's creativity. As a result of the discussion, the majority adopted the following position: recognition of the subjectivity of children's creativity. The child does not discover anything new for the world of adults, but he makes discoveries for himself. Therefore, in relation to the activities of the child, it is legitimate to use the term creation, limiting it to the word baby.

N.A. Vetlugina believes that, discovering something new for himself, the child simultaneously discovers something new about himself for adults, and therefore attitude to children's creativity should be pedagogical. At the same time, in assessing children's creativity, the emphasis should be placed not so much on the result, but on the process of activity itself. That is why N.P. Sakulina the formation of such personality traits as independence, activity, initiative, manifested in the process of activity, considers how indispensable components of creativity.

AT last years the position of unconditional recognition of the inherent value of children's creativity, without the condescending word "childish", was clearly outlined. The appearance of this position is connected with the clarification of a more general problem - understanding the psychology of childhood, the meaning and significance of this period in the life of human society. There has been a peculiar revision of the relationship between the world of adults and the world of childhood. The latter recognizes the right to equal coexistence and interaction with the world of adults, building relationships on new principles: equality, dialogue (an adult teaches a child, but at the same time develops and educates himself); co-development (harmonization in the personality of a child and an adult of the positive principles of adulthood and childhood); the unity of these worlds, the acceptance of any person, of any age, as he is 1 . In the light of this position, one should not understand childhood only as preparing the child for adulthood, and the attitude of the adult world towards him only as ensuring the gradual maturation of children.

The values ​​of the world of childhood, manifested in creativity, are also important for adults. This is sincerity, truthfulness of feelings, the ability to vividly see the image, the ease of "entering" imaginary situations, curiosity, openness to the world, the freshness of its perception. Awareness of the need to understand the world of childhood, to respect and preserve its values, to provide reasonable assistance to the child in his development contributed to the emergence of a whole trend in modern psychological and pedagogical science, investigating the problem of personal development of the teacher himself in the process of interaction with children.

If we take as a basis the principle of the unity of the world of childhood and the world of adulthood, where there can be no rigid boundaries, absolute discontinuity in the development of the individual, then we can say that creativity, as one of the essential moments of this development, carries common features in the activities of both children and adults.

1 See: Petrovsky V. A. Personality in psychology. - Rostov-n / D, 1996; Orlov A. B. Psychology of childhood: a new look // Creativity and Pedagogy. Materials of the All-Union scientific-practical conference. Section V. Childhood and creativity. -M., 1988. -S. 3-10.

So how is creativity defined in this case?

"... There is reason to talk about creativity in preschool age in the fullest sense of this concept." Substantiating this position, GG Kravtsov considers creativity in close connection with the development of the child's personality. “In the context of the problem of personality development, the problem of children's creativity receives new coverage. The concept of creativity turns out to be related not so much to the external objective results of creative acts as to the internal self-change of the creative subject” 1 .

The process of personality development, as you know, goes on in all types of activity, respectively, the process of self-creation, self-development - too. Difference in terms of types and spheres of activity (nature, objective world, society). In line with the idea of ​​the unity of the creative worlds of children and adults, a number of modern psychological studies are interesting, aimed at revealing such characteristics of creativity, which, as it turned out, are universal and the same for children and adults 2 . These universal creative abilities include: realism of the imagination, the ability to see the whole before the parts, the supra-situational and transformative nature of creative solutions, and experimentation. They are not originally inherent in children and adults, but are formed in the process of development of an integral child-adult human community. The child learns them in different activities. They are manifested and formed in the process of activity. The process of creative development of children is understood as the process of mastering these universal abilities. The measure of development can be different. Pedagogy should focus on the development of these abilities in children.

Of particular interest to the theory and practice of the development of children's creativity are psychological studies, which not only confirm the presence of creativity in children, but also study the mechanisms of creativity and the possibility of their purposeful formation. These are the studies of E.E. Kravtsova devoted to the development of imagination in unity with the development of personality in the game and other activities; O.M.Dyachenko devoted to imagination as one of the universal creative abilities. It allows a deeper understanding of both the specifics of children's fine arts and some approaches to managing them.

Summarizing all of the above, we can conclude: children's pictorial activity is creative in its objective capabilities. With the realization of these opportunities in conditions of proper guidance, the child develops as a creative person. Children's creativity in its essence is genuine, it is only at the initial stage of its development. It is no coincidence that E.A. Flerina called it a "seed", and a seed contains everything that appears in a mature plant, it just needs to be grown.

Closely related to understanding the essence of children's creativity is the question of specific criteria for its evaluation. This is one of the most complex and unambiguously unresolved issues so far. In Western psychology, testing methods are widespread, giving a certain idea of ​​the creative potential and the current level of a person's creative development.

At present, they are widely used in our country (method of determining K. Gilford, Torrens, etc.) in a genuine or transformed version. As a rule, intellectual creativity is assessed: fluency of thought (the number of ideas that arise per unit of time), flexibility of thought (the ability to switch from one idea to another), mobility, originality (the ability to produce ideas that differ from generally accepted ones), curiosity (sensitivity to problems) , the ability to develop a hypothesis), fantasticness, etc.

1 Kravtsov G. G. Creativity and personality in preschool age // Ibid. - S. 26.

2 See: Kudryavtsev V. T., Sinelnikov V. Child - preschooler: a new approach to the diagnosis of creative abilities // Preschool education. - 1995 - No. 9, 10.

However, the unnaturalness of the testing situation, the time limit, the inability to take into account personal characteristics and other shortcomings of the tests do not give a complete and objective picture. Therefore, scientists themselves come to the conclusion that methods for measuring and evaluating creativity should be more natural and not be straight-line tests. What is needed is "... a method in which the subject could carry out an externally unstimulated act of creativity in accordance with his own individual possibilities of intellectual activity" 1 . D.B. Bogoyavlenskaya suggests that, obviously, the imperfection of assessment methods forced researchers to resort to “... a generalized assessment of the creative potential of the individual by indirect psychological characteristics» 2 .

The choice of criteria for evaluating children's creativity is also complicated by the ambiguous definition in science of the essence of creativity in general and children's creativity in particular. Proponents of recognition of the objective novelty of creative products identify indicators that characterize the product of activity, primarily originality, novelty. Scientists who recognize the manifestation of creativity in the procedural side of activity fix their attention on creative methods of action: the ability to see a problem, the search for alternative solutions, flexibility, independence, originality in choosing or inventing solutions, etc.

One of the attempts to systematize the criteria for assessing children's productive artistic creativity undertook N.A. Vetlugin 3 . These are indicators that characterize the relationship, interests, abilities of children; ways of creative actions; the quality of children's products. They can be taken as a basis for determining the criteria for evaluating children's visual activity as creative.

Creativity indicators,

And they live in this world, enter it as creators of beauty, enjoy this beauty.

V. A. Sukhomlinsky

3.1. Creative childhood in the social structure

It is known that throughout the life of mankind, not a single society compared the end of the childhood period and the transition of the child into adulthood with his psychological or physiological maturity. The main parameters that determine the maturation of a person, that is, his participation in the economic life of society and responsibility before the law, have so far been economics and politics.

The lower the economic level of society, the earlier children began to work in adult industries. So, in the 19th century in England, a child could be hired to work 12 hours a day in a factory from the age of 4. From the age of 8, almost all the children of workers worked.

Things were no better in Russia during the same period. The girl from A. Chekhov's story “I want to sleep”, who worked the whole daylight period of the day, and at night was forced to repeatedly get up to the crying master's baby, is only 8 years old. Vanka Zhukov, who unsuccessfully wrote a letter “to the village of grandfather”, working “in public”, that is, performing any required work during an irregular working day, 9 years old. Russian society, like English society, at the end of the 19th century used the labor of children, who could be paid significantly less than adults. The children who lived “in people”, like Vanka Zhukov and the girl from the story “I want to sleep,” did not receive a salary at all and worked “for grub” and a roof over their heads, and the training itself was reinforced by constant beatings. Any literature of that time gives a lot of evidence of this kind. For example, Cervantes in Don Quixote describes the scene when the owner, not wanting to pay the money he has earned, beats a teenager half to death and lets him go on all four sides. Until now, in villages where there is no mechanization and the type of work has practically not changed since the end of the 19th century, children begin to work from the time when they are able to perform this or that work (from 4–6 years).

The emergence of complex technology, which can neither be created nor used by unskilled people, led to the isolation of childhood as a period during which the child is trained to control this technique.

The political component in the assessment of the period of childhood is clearly seen in how, depending on political sentiments, for example, the age at which a passport is issued (that is, in fact, an assessment of adulthood) changes for a person. As soon as it became necessary in the country to rely not on adults committed to a different political system, but on young people who are easy to direct in the right political direction, passports began to be issued to adolescents at the age of 14 (although they still cannot bear full criminal responsibility at this age ). In the last chapter, we said that the human brain matures by the age of 25, and psychological responsibility is more likely in people who have reached the age of 20 and older.

The attitude towards creative children is not much different from the attitude towards children in general. As soon as a gifted child can generate income, he begins to be exploited as a child prodigy. There are many such examples in history. They can be both positive, for example, the early concert activity of Mozart, and negative, when the excessive ambitions of adults led to the destruction of the child's spontaneity or to the distortion of the development of the child's personality. Until now, the sphere of relations between a gifted child and society is not limited by legislative acts, so that such children can be protected exclusively by the moral positions of their parents, and in the absence of such, they are open to the influence of all the negative aspects of society, which has proclaimed money as the main value.

3.2. Psychological features of children's creativity

Childhood is a short period of life when a person is not dominated by rational requirements to comply with a certain status in society and a critical introspection of a teenager has not yet arisen. The child has not yet been touched by the harsh right hand of the school, and therefore his work is light and carefree, it is indifferent to the norm and least of all presupposes the opinion of another.

Children's creativity can be called "natural", just as L. S. Vygotsky distinguished between natural, that is, given from birth, natural, and higher mental functions. It is distinguished by its openness to the world, which the child perceives with optimism. He focuses not on what is needed, but on what is possible.

A characteristic feature of children's creativity is its universal character. In childhood, everyone creates, and the real problem of this age is not the problem of creativity, but the problem of its absence, which in itself is a fairly obvious pathology. The lack of creativity may be the result of a rigid upbringing system that has suppressed the child's own "I". It is especially dangerous if this happens before the “first birth of the personality” - at about the age of three.

The child is characterized at this time by variable thinking, when he discovers and reveals a lot of possibilities, creates many types of the same solution, but is equally attached to each. So far, he is not able to separate the successful option from the unsuccessful from the point of view of the culture in which he develops. Adult creativity, on the contrary, presupposes precisely selection and screening from the point of view of the taste accepted in society, a direct dialogue with the culture in which this creativity is born.

If we consider creativity as the creation of something new, then it can be argued that everything cognitive development the child passes exclusively in a creative way. If an adult learns a new language using dictionaries and reference books, then a child learns his native language in a fundamentally different way. The student methodically searches the dictionary for an explanation for each word from the examination text, trying to substitute the words of a foreign language, but keeping the logic of his native language, which never leads to success. The kid acts like a philologist who hears speech unknown to him and tries to understand its structure, adapting to it, and not breaking it, integrating into the structure of his native language. The fact that all healthy children are able to learn a language testifies to their remarkable linguistic inclinations.

In the same way, lying in the cradle, the child compares the visible movement of his hand with the tactile sensations from touching some object with it and numerous signals about the position of his body and hands, and masters the accurate grasp of any object. Then he connects these objects with the sounds that adults are pronouncing at this time, later he begins to highlight the general parameters of various objects, combining individual ones. All these are the stages of learning, mastering the cultural heritage, understanding what society has accumulated, and for a child, of course, personal growth through the creation of something new for him personally, but very ordinary for the world, which has been observing this process of personality formation for many millennia.

The child hears human speech and manages to find meaningful content in it. He perceives music for the first time and finds an explanation for it. He sees the painting and connects the stylized apple in it with an apple of a different color and shape that he had for breakfast. Moreover, he can recognize other items of this class as an apple, although they do not always look like what he saw in the picture and ate for breakfast. Finally, at some point, he will take a pencil or a brush, draw an uneven circle and call it the word "apple", although no adult will be able to recognize the familiar shape in this new object of the real world (Fig. 3.1).

Rice. 3.1. Spontaneous self-search

Such creativity is the leading tool of cognition only until the child masters human speech enough to start purposeful learning with its help, which no longer takes place in a creative way, but with the use of various cognitive learning methods taken under the control of adults. From this moment on, combinatorial, spontaneous manifestations of the child's activity become an obstacle in the transfer of specific experience from an adult, and therefore, in most children, creativity gradually disappears (Fig. 3.2).

The desire to know the world is an inherent quality in the child, the basis of which lies in the unconscious. Just as the grass tends to occupy everything around, the activity of the child is directed to all spheres of human life, and the baby tries to master what a person owns as a species. The child is not able to explain why he wants to know, but after reaching a certain age the question "Why?" is born to him, perhaps regardless of his desire.

Despite the fact that the process of creative assimilation of the heritage of culture is not controlled by consciousness, it differs significantly from what the genus closest to man has - the higher apes. Evidence of a radical difference in the development of children and young monkeys was obtained by orangutan researcher B. Galdikas-Brindamour (V. Galdikas-Brindamour). When she had a child, she tried to raise him with an orangutan baby who lost his mother at a very early age. She tried to care for her son and baby orangutan in the same way, while noting the differences in the behavior of each of them at different stages of development. Her observation was rewarded almost immediately. The radical differences in behavior were in three aspects of behavior, demonstrating the impassable gulf between the two species.

Rice. 3.2. The process of teaching children in kindergarten

During feeding, the child quickly ate and ceased to be interested in food, so he carelessly gave the rest of the food to the orangutan. The orangutan was always hungry and never refused food. This phenomenon is familiar to all dog owners. Regardless of age, animals behave as if they always want to eat, and the owners need to limit their food. This is an evolutionarily justified type of behavior - in nature, animals do not have refrigerators and food supplies. They are forced to constantly extract it, and therefore they do not have such a saturation mechanism that is inherent in all human children.

The second difference was that the child very early began to pronounce sounds, the variety of which increased with time. When he was awake, he was almost constantly "chatting".

The orangutan was always silent, not responding to the affectionate conversation of his foster mother. This feature also has its reasons. For years, researchers have tried to teach babies to talk. different types animals, until it was shown that the peculiarity of the structure of their vocal apparatus is such that they cannot master the various sounds of human speech. In a child at birth, as in animals, the ligaments are raised quite high. But during the first year of life, they gradually descend, which allows a sufficiently large volume of air between the ligaments and the mouth to oscillate with a change in their tension, and it is these oscillations that constitute an audible sound. In animals, the ligaments are located high enough that they do not allow them to pronounce a variety of sounds. In addition, the limited capabilities of the brain correspond to the features of the speech apparatus.

And finally, the child was incredibly curious. He was especially interested in the instrumental activities of people, to which he was drawn and tried to participate, as soon as he learned to move independently. The orangutan was completely indifferent to this aspect of life (Fig. 3.3).

The child, like a sponge, absorbs the impressions of life, accumulates material and actively processes it. Consequently, creativity is the destiny of any child; it is a normal and constant companion of child development. Research activity of adults is a separate type of activity, which is called scientific activity. For children, any creativity is associated with research. When a child draws an apple, he explores form and color, he experiments with volume and space. Having drawn an apple, he discovers that it is hanging in the void, so he begins to look for a support for it - a plate, which he also has to place on something else, etc. In the same way, playing hide and seek, the child gradually masters that wonderful fact, that if he sees a person, then the person sees him, regardless of whether the child closes or opens his eyes. In the future, he will be able to verbalize this in physics lessons in the form of the laws of light propagation, but long before that, he himself will discover this law intuitively during creative activity- in the process of playing or drawing.

Rice. 3.3. Child and orangutan raised together (B. Galdikas-Brindamour, 1975)

Another difference between children's creativity and adult creativity lies in the limited experience of children. It would seem that their work should be poorer. However, unlike adults, who have more elements to combine, but consciously cut off those that, according to experience, are impossible, children easily combine incompatible things without criticizing the result.

The difference between children's creativity and adult creativity also lies in its insecurity. An adult, when creating something, not only looks at it with his own eyes, but also tries to evaluate the result from the point of view of other people. That is why many innovative ideas are never implemented. Their authors too accurately represent the negative reaction of others and prefer not to see the result than to meet the reaction that they have to endure.

The child looks at his work exclusively with his own eyes and loves what has been created. We have already talked about children's egocentrism, according to which the child is sure that an adult sees what he has done in exactly the same way as he himself. The child does not know that he has his own view of the world, and does not give this opportunity to others. He is absolutely sure that, looking at his drawing, everyone sees what he sees himself. But adults do not have the imagination of a child. They see only scribbles on the sheet, not an airplane soaring into the sky, and not a battle in which the good always wins (Fig. 3.4).

Later, through experience, the child becomes aware of this misunderstanding of adults. For some time he will fearlessly publish the result of his work. Then, depending on the aggressiveness or benevolence of the immediate environment, he either continues to create, improving everything and improving his skills, or closes himself off from the world, stops creating and turns into a typical adult who critically looks at everything unusual, knows everything and is confident in his infallibility. Thus, the creative fate in individual development is determined by the characteristics of the interaction of the individual with culture. In the process of this interaction, the natural creativity of the child is modified into adult creativity, which is considered as the highest mental function.

Rice. 3.4. Action in a child's drawing

3.3. Psychophysiological features of creatively gifted children

In childhood, two phases of creativity development can be distinguished. The primary phase is characterized by the absence of any specialization. The child creates in various areas of culture. But the older he gets, the more noticeable this or that preference, so this second phase of children's creativity can be called specialized. When discussing now about creatively gifted children, we will have in mind this stage of specialization, when the child has already decided what is especially dear to him.

Until now, there are extremely contradictory ideas about the psychological characteristics of gifted children. One of the widespread points of view is that intellectually or creatively gifted children have their deep knowledge of certain academic disciplines and arts combined with naive ideas about the life of society, the difficulty of joining a peer group, and mental instability. Such studies lead to the conclusion that such children are maladaptive.

For example, in one of the studies, classes to increase the level of creativity led to changes in emotional and personal manifestations in children: increased aggressiveness, sensitivity, and depression. The researchers conclude that increased creativity is accompanied by some neuroticism in children. They believe that neuroticism is based on the same mechanisms as in the formation of creativity: an attitude towards the perception of the problematic nature of the environment. The search for diverse opportunities complicates the processes of choice and decision-making, while weakening psychological protection. All this, to a greater or lesser extent, upsets the balance in the system of life of the individual. An explanation is offered that the psyche seeks to restore the balance disturbed by the formation of creative properties and attitudes. There are two main types of individual response to imbalance associated with increased creativity: restoration of the old system by reducing creativity, or gaining new stability without reducing creativity. The final conclusion is made that not for all people increasing creativity is appropriate: some children react with pronounced emotional discomfort, the other with more positive emotions.

This explanation of the results of these studies is highly questionable for several reasons. We have already said that creativity is an obligate quality of any healthy child, allowing him to adapt to the culture in which he was born. From this point of view, creativity, adequate to age, cannot lead to illness. But an attempt to form a quality that does not correspond to age - divergent thinking can lead to illness. In this regard, it is worth referring to the example offered by D. A. Bogoyavlenskaya. She reported that children of primary school age were offered training aimed at ensuring that children produce maximum amount hypotheses in solving the problem. It turned out that one girl, who had previously been an excellent student, began to study worse, because she could not stop at a certain decision in the process of control tasks, although she prompted other children the right decisions in the lesson, without risking making them herself.

Orientation of the child to the perception of problems can really neuroticize him, without making him creative. We have already noted that a feature of the thinking of children of this age is insensitivity to contradictions. The child perceives opposite interpretations with equal ease and includes both of them in his picture of the world. This is due to the fact that at this time the child must master the often conflicting demands of the culture and the different positions of their own parents. He cannot take something and discard the other. The task is to unite and accept. The need to make a choice during this age period can lead to neuroticism. The impossibility of choice is indeed a reflection of a neurotic view of reality. But the absence of the need to choose is a children's vision of reality, which adults must carefully protect, not destroy. The child must be ready to choose. It will happen when his brain matures.

It is quite possible that a mechanism that effectively helps adults activate certain aspects of creative activity, children who are equally fond of each of their decisions, leads to neuroticism. This once again emphasizes the importance of Piaget's genetic theory regarding the formation of the child's intellect, which insists that the child consistently rises up the stages of development and jumping over some of them will lead not to the intensification of this process, but to its inhibition or the child's illness.

The conditionality of the problems of creatively and intellectually gifted children, not by the giftedness itself, but by the methods of their upbringing, is also confirmed by a study conducted by D. V. Ushakov. He examined more than 800 gifted teenagers, participants of the final round of the Moscow Intellectual Marathon of the multidisciplinary Olympiad for schoolchildren. It turned out that boys of the 10th and 11th grades with high intelligence found significant positive correlations of mathematical achievements in the marathon with the loneliness scale of the questionnaire developed by the author of the study (0.42 and 0.30, respectively). The results indicate that the source of adolescents' personal problems is not intelligence as such, but the fact that they have to study a lot to gain deep academic knowledge, which does not allow them to spend time on communication.

This result can be confirmed by the memories of many prominent people, for example, the artist S. Dali, the chess player G. Kasparov, the mathematician N. Wiener, who complained in autobiographical notes about a lonely childhood and a lack of social skills in early youth. D. V. Ushakov cites N. Wiener’s recollection: “The unusually complicated course of study that I took at home naturally turned me into a hermit and developed that naive attitude towards all issues not related to science, which involuntarily aroused a feeling of irritation and dislikes ... Because of the constant loneliness ... I turned out to be an unsociable and awkward teenager with an unstable psyche. It is significant that Wiener complains here not about the mindset, but about the peculiarities of upbringing that led to his alienation from society.

Nevertheless, D. V. Ushakov suggests that high intelligence in itself is rather a positive factor in adaptation. Gifted children under certain conditions of education are adaptive. However, "nerds" are not adaptive, that is, those of gifted children whose parents do not consider it necessary to teach the child social skills, while specializing in abstract and distant activities from life.

The main condition for the development of creativity, from the point of view of D. A. Bogoyavlenskaya, is the development of the child's personality. In children with high level creativity, by the age of seven, the most important personality characteristics are practically formed (positive attitude towards oneself and the world around, developed personal reflection); with an average and low level of creativity - an average and low level of development of personal qualities.

Consequently, when working on the development of children's creative abilities, it is necessary to direct efforts not at the development of one of the aspects of the adult manifestation of creativity, but at creating conditions for the development of the child's personal qualities, his desire to create, act in accordance with the system of values, achieve results. The history of science and art provides a lot of examples when the loss of spirituality turned into a loss of talent.

This thesis will be confirmed by the fact that in a gifted child the process of personality development proceeds more rapidly, and personal-individual characteristics are more pronounced and manifest earlier, which is defined as "psychosocial sensitivity". This definition is understood as a heightened sense of justice, personal responsibility, advanced moral development, high emotional sensitivity. It is possible that it was the work of parents to improve the personality of these children that contributed to the formation of their giftedness. But there is no real evidence for this thesis.

Finally, historical facts also more strongly indicate that giftedness itself is an adaptive factor, while upbringing methods can lead to a child's inability to adapt in society. Many outstanding musicians of the past began to specialize in music very early: from 3 years old - Mozart, from 5 years old - Mendelssohn, from 4 years old - Haydn and Handel, became composers at 11 years old - Schubert, at 12 years old - Weber, at 13 years old - Cherubini . In the same way, the artists Raphael and Grez (from the age of 8), Giotto and Van Dyck - from 10, Bernini - from 12, Michelangelo - from 13, Dürer - from 15 showed themselves early. Unlike modern children, who specialize early, for example, in mastering musical art, these children had no problems with social adaptation due to the peculiarities of life at that time.

They all lived in large families, and their parents, teaching art, found time to instill in them social skills, without mastering which they could not survive. The teaching of painting generally took place in the populous families of the masters of that time. And the term "family" as a nuclear unit, in which there are parents and children, did not even exist before early XVIII centuries. There were different terms (not the same in different countries), corresponding to all households, including servants, students, etc. Mendeleev was the 17th child in the family. In such families, it is difficult not to have social skills, even if no one instills them specifically.

Families that unite only parents and an only child are now more common. It is in such families that the probability of raising an intellectually gifted child is high. In addition, society supports the one-sided development of children, leading to high achievements in the future and significant monetary rewards. The family often prefers to direct efforts towards the intensive development of one or another skill of the child to the detriment of the harmonious development of the personality, expecting that these efforts will bring significant income. The personal experiences of the child himself have no monetary equivalent. Moreover, his social immaturity, due to little communication experience due to heavy workloads in developing the skill, allows relatives to reliably exploit his talent.

Another very common erroneous point of view is the connection of left-handedness with giftedness. These assumptions are based on the fact that among the prominent people there were many left-handers. This is a really impressive list: artists Rafael Santi, Pablo Picasso, Michelangelo Buonarotti, Maurice Escher, Alfred Dürer, Hans Holbein were left-handed. Among musicians, the most famous left-handers are Ludwig van Beethoven and Karl Bach, among singers - Paul McCartney (The Beatles), among writers - Mark Twain, Lewis Carroll, Herbert Wells, Nikolai Leskov. The physicist Albert Einstein was also a left-handed person. Other left-handed scientists are Ivan Petrovich Pavlov, James Maxwell, Henri Poincaré. There are many left-handers among politicians and generals, for example, Napoleon Bonaparte (and his wife Josephine), Alexander the Great, Joan of Arc, Julius Caesar, Charlemagne, Fidel Castro, Harry Truman, Ronald Reagan, Bill Clinton, Albert Schweitzer.

However, when offering such lists, the authors do not provide lists of right-handed prominent people, which, of course, are much larger, but not because of the greater giftedness of right-handed people, but simply because of their greater numbers. In addition, it is quite obvious that there are more left-handed outstanding people in those areas of human activity, high achievements in which are mediated by the functions of the right hemisphere. This hemisphere is responsible for figurative perception, emotional expression, recognition of human faces, pitch analysis, orientation in space. That is why there are many left-handers among musicians, artists, generals, athletes of certain sports (for example, wrestling). When evaluating children, it turns out that a higher IQ is more often found in children with severe asymmetry (no matter what). At the same time, there are more boys among children with the left preference, and girls - with the right one. This fact can be explained by the fact that children preschool age the leading structure that ensures the interaction of the hemispheres, the corpus callosum, has not yet matured. That is why the interaction within the hemispheres is more effective than the interhemispheric ones. Children, in whom all cognitive processes can be carried out within the same hemisphere, have an advantage over children who, when mastering a skill, need more time for the interaction of the hemispheres of the brain.

Of course, creatively gifted children are more difficult to educate, because they are more inquisitive, proactive, spontaneous. But whether there will be problems with them or not depends not so much on them as on the people around them. If parents understand their children, then they have no complaints against them. But in the harsh conditions of authoritarian upbringing, a gifted child can be perceived as inadequate, and the consequence of such upbringing will be the neuroticization of the personality.

3.4. Factors affecting the expression of creativity

We have already said that for creative abilities, as well as for many other psychological qualities, there is a sensitive period, which is the preschool age of child development. The concept of a sensitive period includes the necessary set of specific factors, without which the development of one or another psychological function that is formed in this limited time period is impossible.

Among the many reasons for giftedness, heredity is considered the first. Entire dynasties of musicians (for example, Bachs), cabinetmakers, sculptors, and artists are known. But in these historical examples it is difficult to isolate the hereditary factor from early learning. It is clear that the children in these families were constantly in a specific environment, and therefore were more sensitive to those subtle influences that ensure high achievements in a particular area, and could effectively master the specialty. For example, a child born into a professional family of musicians heard music in the womb, which contributed to the development of the ability to distinguish between pitches and rhythmic sequences. Nevertheless, even in the Bach dynasty, each composer was different from the other, and the genius of only one is unconditionally recognized by all. That is why it will be more accurate to talk about the necessary combination of hereditary predisposition and early learning.

Studying the relationship between upbringing and heredity, Yu. B. Gippenreiter came to the conclusion that environmental factors have a weight commensurate with the contribution of the heredity factor, and can completely compensate or, on the contrary, neutralize the effect of the latter.

Obviously, the styles of family education to a lesser extent affect the manifestation of creativity. It is known that the great violinist Paganini was beaten by his father and locked in a closet, Mozart was also strictly brought up, while almost everything was allowed to Dali or Scriabin. If in the first cases the child lived in a family with an authoritarian type of upbringing, then in the last two - with a conniving one.

It turned out that regular praise did not affect the number of original responses. But it reduces the quality and ease of thinking. In other words, encouragement reduces the ability of children to achieve new results. Extreme coercion, in turn, impairs the flexibility of thinking. Excessive help from an adult in organizing the material, especially in combination with structured instructions, also reduces the flexibility of the child's thinking. Fortunately for humanity, preschoolers are more often intrinsically motivated than extrinsic.

A study of the influence of the family microenvironment on children's abilities revealed several predictors (factors that predict a high probability of an event) of high creativity scores (according to the Torrens test). When analyzing these data, one should take into account the difference between creativity, as determined by tests, and the realized ability for creativity in famous people. To realize creativity, it is necessary to have volitional qualities, which are brought up to a greater extent in harsher conditions. You can be a creative person, but not achieve any results in the absence of internal endurance, will and outside support. Realized creativity among great people was the result not only of extraordinary creative abilities, but also of strong personal qualities: the ability to resist society, achieve the goal and win this struggle. The latter qualities refer to a high level of social intelligence, which does not always correlate with high values ​​of creativity.

However, there are situations when people with high creativity and low social intelligence paired with people with high social intelligence, which increased the efficiency of each. One such example is the story of S. Dali. In his memoirs, he talks about how, when he came to school, he was incredibly shy, because he could not even lace up his shoes. Meeting the woman who became his muse - his Gala, who has a high social intelligence, allowed him to compensate for his lack of social skills. However, this led to the fact that the muse began to exploit the talent of S. Dali.

But examples are more typical when a talented person is able to control himself and discipline himself severely. So A. Dumas, the father, who was forced by contract to write two novels a year for 20 years, daily demanded from himself a certain number of written sheets of paper, regardless of inspiration, mood or condition.

From the point of view of V. N. Druzhinin, creativity is formed when there is no model that clearly regulates the behavior of the child, but there is a positive example creative personality in the family and conditions are created for imitation of it, since behavior similar to creative is reinforced by various educational measures.

Authors following the psychoanalytic tradition formulate these conditions in a slightly different way. For the creative self-realization of the child, psychological freedom and psychological security are necessary. “Evaluation is always perceived as a threat, always leads to the need for a defensive reaction, always means that some part of the experience will be closed from consciousness.”

Family factors include the number of children in the family. Statistics show that most often the last children became creative, while the first became intellectual. This is explained by the fact that the first child is given more attention, since all the time of adults is spent on only one. It is the first-born who is destined to meet the ambitions of the parents, therefore, more requirements are placed on him and all responsibility for the realization of parental expectations is assigned. The last child gets more love, is less required from him and less likely to limit his initiative (which creates the conditions for psychological freedom and psychological security according to Rogers).

But this rule has many exceptions. 3. Freud was the eldest child, but his mother loved him very much and spoiled him, that is, she showed to him those feelings that in most families are shown to younger child. It is known that Leonardo da Vinci had two young stepmothers who did not have their own children, who loved and spoiled him. We know that the parents had little contact with A. Pushkin, but he had a nanny who did everything that was so necessary for the manifestation of giftedness. Thus, at a certain stage of development, for the formation of creativity, a child needs unconditional love educator person. However, in order to protect one's original views, to withstand the wall of misunderstanding in later life, it is necessary to develop volitional properties that require a different type of influence on the individual. Volitional qualities are easily trained in large families, and in nuclear families with a small number of children, they are formed with special attention from parents to instilling social skills.

Many other circumstances affect the possibility of high creative achievements. For example, the place of birth is of no small importance. It is known that more than 60% Nobel laureates The US (out of 390) comes from big cities. This is easily explained: in megacities there is a richer cultural environment, there are many schools with different areas of education, libraries, theaters, art galleries, philharmonic societies, etc. A large number of talented parents live in such cities, devoting considerable time to their children and having sufficient funds. to give them a quality education.

To realize the creative potential, many additional things are required: achievement motivation, willingness to take risks when advocating non-standard ways of solving problems, the availability of knowledge to evaluate the effectiveness of various solutions, as well as appropriate value orientations that help to realize a creative solution. The big city gives more opportunities for all this.

An important point is to maintain the internal motivation for achievements in the child. T. M. Amabile conducted a study in which preschool children were divided into two groups. Children of the first group were offered small gifts (stickers, stamps) for their favorite pastime - drawing with felt-tip pens, children of the second group drew without outside reinforcement. It turned out that after two weeks the children, who had been drawing with pleasure before the experiment, stopped drawing spontaneously after receiving external reinforcement. Children who did not receive such reinforcement continued to draw for their own pleasure. This means that it is possible to influence the manifestation of creative abilities in children simply by suppressing their spontaneity with external motivations. The fact that adults do often break children in an attempt to build their intrinsic motivation may explain that more creative students have higher levels of anxiety and more pronounced personality defense mechanisms.

Thus, the environment can both enhance the manifestations of the child's creative activity, and weaken them.

3.5. Prerequisites for joint creativity of a child and an adult

We have already noted that the advantage and at the same time the disadvantage of adult creativity is a lot of experience, which gives both knowledge and skepticism. The advantage and disadvantage of children's creativity lies in the immediacy of perception, love for what is being created, and the inability to weed out at least something. All this combines both liveliness of perception and primitivism of performance. A certain balance of childish spontaneity and adult experience is, of course, a prerequisite for a different quality of creativity than what is characteristic of each age category separately.

The combination of the creative abilities of a child and an adult can obscure the weak and highlight strengths everyone. The child has immediacy of perception, the adult has experience, the child has the freedom to interconnect different elements, the adult has the knowledge of which of them will be effective.

The combination of childish spontaneity and adult experience can give a special creative impetus if an adult can act like a skilled jeweler who, by cutting a diamond, removes the excess and makes the intrinsic inherent in this mineral sparkle. However, not every adult is ready to see something significant in a child's product, not just a child's product, which is a stage in the growth of this person and makes sense only in the context of his life.

When we say that children's creativity has a sensitive period, we mean that in a limited period of time (up to five years), a special attitude of an adult towards the manifestation of a child's creative activity can either develop it or slow it down. Of course, there is a genetic component in the formation of a certain creative activity - musical, artistic, scientific. But each gene has its own reaction rate. This means that, depending on the conditions, it can either manifest itself completely, or - in the absence of necessary conditions- just be identified.

An example is the majestic pines growing on the shores of the Gulf of Finland or in the forest. They are not at all like their dwarf counterparts, trying to hold on to rocky areas where there is practically no land, or other relatives grown in a tiny pot by Japanese craftsmen who regularly trim the roots and do not allow them to eat at full power. These last look like the foot of an unfortunate Chinese princess, who at the age of 5 is shackled in a shoe to keep her small size. In all these cases, the change in form is not the result of genetic influences, but the impossibility of manifesting one or another gene due to the unpreparedness of the environment to accept this genotype.

An artistically gifted child from a tribe in Central Africa will never become an artist simply because he does not get his hands on paint (a typical gift for any child, regardless of the level of giftedness in Europe), which in other circumstances he could designate his inner world.

A creatively gifted child needs an adult who is ready to see him as a creative person. This adult not only gives the child a violin or a brush. He is next to the baby when he meets with a contradiction in his activity. An adult does not solve the problem for the child and does not turn away from it. He is nearby and with his benevolence and support pushes the child to independent decision problem that he is ready to solve.

Interacting with an adult through the word, the baby masters the forms and functions of objects as they were perceived by many generations of people belonging to the same culture. A child who is accustomed to eating food by the fire with his hands perceives the world and explains it differently than a child who has been taught to use a knife and fork. They feel food differently and everyone takes the knowledge available to him for granted. Differences are not measured on a “bad-good” scale. They are fixed in the individual picture of the world and become an integral part of the creativity of each of them. But this difference is made not by the individual characteristics of these children, but by differences in the cultures to which they belong.

An adult, giving a child a word, teaches him to see those features of the external world that have already been studied and, due to certain circumstances, have attracted the attention of people of this culture. A small Chukchi can distinguish 83 shades of white, the names of which are given to him by his parents, which is inaccessible not only to a European child, but also to an adult. At the same time, a European child better indicates the shades of the colors of the rainbow, which makes it difficult for a small Chukchi.

But any training, expanding the range of perception of the child, at the same time limits it to the perception stamps accepted in this culture. The child adopts the adult's picture of the world and its limitations. He quickly learns not to ask certain questions, and therefore not to see certain aspects of life.

From this point of view, a child living in a family with multinational roots or meeting people with different ideas will allow a person to go beyond the narrow culturally conditioned picture of the world and create conditions for a free search for his own vision of reality.

common psychology -> Legal psychology
common psychology -> M. A. Kholodnaya Psychology of intelligence: research paradoxes
common psychology -> Self-reliance

graduate work

1.1 The concept of fine art in psychological and pedagogical research

In this paragraph, it was important for us to highlight the essence of the concept of children's fine art and consider its features. An important way of humanizing the pedagogical process, which creates an emotionally favorable environment for each child and ensures his spiritual development - the formation of artistic and creative abilities in all children. The formation of a creative personality is one of the important tasks of pedagogical theory and practice in present stage.

Vetlugina N.A., believes that by discovering something new for himself, a child discovers something new about himself for adults. Therefore, the attitude to children's creativity should be pedagogical. When evaluating children's creativity, the emphasis should not be on the result, but on the process of activity.

Flerina E.A., called children's creativity a “seed”, and everything that is manifested in a mature plant is contained in a grain, you just need to grow it

Kravtsova E.E., considers creativity in close connection with the development of the child's personality

Komarova T.S., in her studies of children in the world of creativity, draws attention to the scientist Lilov A., who contributed his understanding of creativity. "Creativity has its own general, qualitatively new features and characteristics that define it, some of which have already been sufficiently convincingly disclosed by theory." These general regularities are:

Creativity is a social phenomenon

Its deep social essence lies in the fact that it creates socially necessary and socially useful values, satisfies social needs, and especially in the fact that it is the highest concentration of the transforming role of a conscious social subject (class, people, society) in its interaction with objective reality. » .

Also Komarova T.S., cites the example of the researcher Volkova A.A., who in turn characterizes the creativity of preschoolers as: a versatile and complex impact on the child. The mind (knowledge, thinking, imagination), character (courage, perseverance), feeling (love of beauty, passion for image, thought) take part in the creative activity of adults. The same aspects of the personality should be educated in the child in order to more successfully develop creativity in him. To enrich the mind of a child with various ideas, some knowledge means to provide abundant food for children's creativity. To teach them to look closely, to be observant means to make their ideas clearer, more complete. This will help children to more vividly reproduce what they have seen in their work.”

Komarova T.S. draws attention to the scientist Lerner I.Ya., he points out that: creativity can be taught, but this teaching is special, it is not the same as knowledge and skills are usually taught.

1. Independent transfer of previously acquired knowledge to a new situation;

2. Vision of a new function of the subject (object)

3. Vision of the problem in a standard situation;

4. Vision of the structure of the object;

5. Ability in alternative solutions;

6. Combining previously known methods of activity with new ones.

Kazakova T.G., in her research on the development of children's fine arts, considers the scientist Poddyakova N.N., who emphasizes that creativity is a kind of qualitative transition from the already known to the new, unknown, creativity is a special form of the child's development process, it is dialectical and contradictory. The author writes that the creativity of children is deeply personal in nature and is determined by the uniqueness of the individual, the accumulated experience of activity, therefore its development requires careful consideration individual characteristics child. The author identified two genetic sources of creativity in preschoolers. The first is practical activity aimed at transforming objects and phenomena with the aim of their knowledge and development. The second is a game, during which imagination and fantasy develop, favorable conditions are created for the free manifestation of interests and needs. Also, N.N. Podyakov notes that children are sensitive to the perception and understanding of complex objects based on global mental formations. He argues that this ability must be maintained and developed in every possible way, and that this requires the development of new content and new methods of education and training.

How do well-known domestic scientists define children's creativity? How is its significance determined for the formation of a child's personality? The researcher of children's creativity, E.A. Flerina, evaluates it as a conscious reflection by the child of the surrounding reality in drawing, which is built on the work of the imagination, on displaying one's observations, as well as impressions received either through a word, a picture and other types of art. The child does not passively copy the environment, but processes it in connection with the accumulated experience and attitude towards the depicted.

Understanding children's creativity as the knowledge of life, she makes an attempt to find the reasons for the peculiar representation of the phenomena of the surrounding reality by children, and outlines two ways:

through familiarization of children with the material;

through the creation of their image in the drawing.

Consider the ways of the formation of creativity according to N.A. Vetlugina. They are very peculiar, and lack the usual alignment that is characteristic of the learning process. It can be assumed that the emergence of creativity in children's artistic practice is of a phased nature. At the first stage, the role of the teacher is to organize those life observations that affect children's creativity. If a child is to reflect life impressions in a fairy tale and a drawing, then he must be taught, first of all, a figurative vision of the environment.

The second stage is the actual process of children's creativity, which is directly related to the emergence of an idea, to the search for means of implementation.

At the older preschool age, the child is already able to plan his creative activity and, in connection with this, the nature of pedagogical influences also changes. The sequence of formation of creativity depends on:

From the process of emergence and formation of the form of children's activity (enrichment with life impressions);

· From the ways of the formation of a creative image in children (the idea is the search for a means of embodiment);

From the sequence of changing relationships between an adult and children (showing the process of creativity - partial participation in it - independent play of children). There are stages of the creative process in the activity of the child, but the ratio of these stages is different from that of an adult. In the process of visual activity, the child experiences a variety of feelings: he rejoices at the beautiful image that he created himself, upset if something does not work out. But the most important thing: by creating an image, the child acquires various knowledge; his ideas about the environment are clarified and deepened; in the process of work, he begins to comprehend the qualities of objects, memorize their characteristic features and details, master visual skills and abilities, learns to use them consciously. Assimilation by children in the process of learning various options for the image, techniques will contribute to their creative development.

Kudryavtsev V., Sinelnikov V., highlight the universal characteristics of children's creativity as: the realism of the imagination and the ability to see the whole before the parts, the supra-situational-transformative nature of creative solutions, children's experimentation.

Under the realism of imagination and the ability to see the whole before the parts, it is meant that the realism of the imagination and the ability to see are connected with each other and considered in the same way. There is a widespread view of the imagination as inventing something that does not really happen, as a neglect of reality, a departure from it. And the further this “fly away”, the more creative in their originality are the images of the imagination.

Children are credited with the gift of seeing what adults do not notice - up to the invisible rays generated by the energy of the senses. In order to comprehend the real meaning of an object, the child must imagine it, look at it from an unusual and paradoxical point of view. Imagination repeats to the child the path of entry into human culture. Through imagination, he masters the meaning of those objects that constitute its historically developing content. For example, a child will not be able to master the norms of his native language without free experimentation with the material body of the word, without what is called children's word creation. Performing this function in mental development child, imagination is not a separate mental process, but a universal property of consciousness, the universal root of all its main spiritual manifestations.

With the help of imagination, a person highlights those properties that, although hidden, are specific for a given object and most clearly reflect its general, integral nature; imagination and creativity - involuntary “absorption” into an object, not destruction of its integrity; on the contrary, it is its completion in accordance with the features of the object.

The next universal characteristic of creativity, which is distinguished by V. Kudryavtsev and V. Sinelnikov, is the supra-situational-transformative nature of creative solutions. Here creativity is understood as the choice of alternatives under false and uncertain conditions. The very existence of a situation of choice is considered a key prerequisite for freedom of creativity, will, and conscience. But, a sufficient information base for making a decision does not guarantee the adequacy of the choice. The active participation of the “chooser” in the formation of alternatives in their “destiny” is necessary. A person who is developed in a creative and moral sense, has solved a problem that is significant for himself, will never choose from a set of ready-made, externally imposed alternatives that have developed independently of him. But when choosing, he either prefers one of those alternatives in the formation of which he himself took part, or adds a new one to them. An experiment with a story about gnomes showed that children do not always use the “freedom of choice” granted to them by adults from ready-made alternatives. Often they follow the path of resistance, pushing the initial limits of the tasks that the adult world sets before us. The indicator of a person's creative development is not the ability to make a choice, but the extension of the dictates of choice, the creation of a constructive alternative to the choice itself.

Kudryavtsev V., and Sinelnikov V., highlight another universal characteristic of creativity - children's experimentation. Experimentation - as a special way of spiritual and practical development of reality, aimed at creating such conditions in which objects most clearly reveal their hidden in normal situations essence. Experimentation is the leading functional mechanism of a child's creativity. A distinction is usually made between a real and a thought experiment. In preschool children, both of these forms of experimentation are merged with each other. Only somewhere towards the end of preschool childhood does the relative separation of the thought experiment into an independent type of activity take place. Through experimentation, the child transfers and includes the properties of familiar objects in the context of new situations, and also reveals the possible transformations of these properties in this context.

In the process of deploying experimental activities a preschooler is able to focus not only on external empirical properties objects, but also on their figuratively presented internal, key characteristics.

Sometimes it is difficult for him to create "experimental" conditions in which the nature of a thing would manifest itself most fully and vividly. In such cases, the decision of this task takes on an adult. The child can actively intervene input changing conditions. As a result, the features of "experimental behavior" objects receive their sensory generalization in the images of children's imagination.

Komarova T.S., says that the specificity of children's creativity is to create an objectively new child for a number of reasons (lack of certain experience, limited necessary knowledge and skills.) Cannot. And, nevertheless, children's artistic creativity has an objective and subjective meaning in the process of perception of the depicted objects and in their embodiment in images. At the same time, in the process of mastering activity, subject-subjective relations are realized. This happens with the development of its motives, especially social, socially directed with the enrichment of themes and ideas, social in content, public assessment and public use of the final result. Thus, the child as a subject of activity is included in the system of social relations through the content of the activity. In addition, subject-subjective relations arise between the child and adults, children among themselves regarding activities (when performing collective work; during the participation of all children in their analysis and evaluation, etc.). In other words, the process of mastering activity by a child is the process of development of the child as a subject of activity in the system of social relations. At the same time, all spheres of the child's personality develop.

Thus, on the part of educators, we understand creativity as an activity that results in the creation of a new, original product of social significance.

A special place is occupied by the fine art of a child, which is somewhat different from the fine art of an adult.

This type of children's creativity is the most effective means for developing the creative abilities of a child. In the process of visual activity, the child experiences a variety of feelings: he rejoices at a beautiful image created by himself; frustrated if something didn't work out. But the most important thing: by creating an image, the child acquires various knowledge; his ideas about the environment are clarified and deepened; in the process of work, he begins to comprehend the qualities of objects, memorize their characteristic features and details, master fine skills and abilities, learns to use them consciously. Moreover, the creativity of a preschooler in the classroom for fine arts is inextricably linked with the work of the imagination, cognitive and practical activities. Assimilation by children in the process of learning various options for the image, techniques will contribute to their creative development.

Particular attention should be paid to the mental properties and qualities of the individual, which are necessary for the successful mastery of various types of artistic activity and the development of creativity. We distinguish general mental processes necessary for the successful implementation of any type of activity (musical, visual, musical-motor, gaming, etc.), and special ones that are important for a particular area (only for music or only visual). General processes are: imagination, perception, figurative representation and thinking, interest in activity and an emotionally positive attitude towards it, memory and attention. Emotions play an important role, which contribute to the manifestation of interest in fine art. The child experiences different feelings, expresses attitude towards them. The attitude is both emotionally positive and negative character associated with feelings of joy, sadness, admiration, indignation, love, hatred and others.

In the works of L.S. Vygotsky reveals the fundamental characteristics of children's imagination. Children's imagination develops relatively independently of the intellectual sphere and is not sufficiently controlled by the child. The unpretentiousness of children's imagination creates a false impression of her wealth. About the poverty of the child's imagination and at the same time about its brightness, its great influence on the “fragile soul of the child,” K.D. Ushinsky. L.S. Vygotsky also noted that images of the imagination are built from elements taken from human experience.

The experience of a child is small, which means that a child's imagination is poorer than an adult's. At the same time, L.S. Vygotsky noted and explained the brightness, freshness, emotional saturation of children's imagination images and the child's great trust in the products of his imagination.

So L.S. Vygotsky sees the power of creativity in the diverse forms of connection between imagination and reality. The research of the scientist proved that thanks to these forms of communication, the imagination makes a full circle: from the accumulation, processing of impressions about reality to the stage of bearing and shaping the products of the imagination, to the embodiment of the products of the imagination into real ones that again affect a person. This author points out that creativity exists wherever a person imagines, combines, changes and creates something new, no matter how small this new thing may seem. A huge part of everything created by mankind. Vygotsky L.S. says that the products of the imagination are realized in concrete things, the results of children's creativity, which again affect the child's imagination. Imagination is the main driving force of the creative process of a person and plays a huge role in his entire life.

Preschool childhood is a favorable period for the development of creativity. At this age, children are inquisitive, they have a great desire to learn the world.

One of the most important conditions for the development of children's visual creativity is the appearance of visual activity proper in a preschool child.

The main conditions for the development of children's fine art Grigoryeva G.G., considers:

Broad approach to problem solving. The game, artistic activity provide great opportunities for the child. An adult interacting with a child must create all the conditions for the child to conduct search, research activities, to solve problems in his own way. An adult should not rush to give the child answers to the questions posed. The teacher must make the natural process of life and activity of children creative, put children in a situation not only of artistic, but also of cognitive, moral creativity.

Organization of an interesting meaningful life of the child in preschool and family; enriching it with vivid impressions, providing an emotional and intellectual experience that will serve as the basis for the emergence of ideas and will be the material necessary for the work of the imagination.

A unified position of teachers in understanding the prospects for the development of the child and the interaction between them.

Education as a process of transfer and active appropriation by a child of visual activity as a whole, organized by an adult. That is, the scope of education includes both the formation of the ability to emotionally respond to the world around us, and the need to express the worldview in artistic form, the need for creativity and the desire to do work for other people. In the process of learning, knowledge, methods of action are formed, abilities are developed that allow the child to realize any plan.

In the context of developmental learning, it is important to formulate creative tasks that do not have an unambiguous solution. It is very important that the creative tasks presented to adults be perceived by the child. Motivation of the task and not just motivation, but the proposal of effective motives, leading children, if not to independently setting, then to accepting the task set by adults, is an important condition for the child's creative activity in the classroom.

Atmosphere of creativity. That is, stimulation by adults of such a state in children, when their feelings, imagination are “awakened”, when the child is passionate about what he is doing. Teplov B.M., points to sincerity as the main condition that must be ensured in children's creativity. “Without it, all other virtues lose their meaning ...” in this state, the child feels free, liberated, bold, comfortable, this is possible if an atmosphere of trusting communication, cooperation, empathy, faith in the strength of the child, support him reigns in class or in independent artistic activity. on failures. Creating an atmosphere of creativity is largely envy of the general culture of the teacher, understanding the essence of the matter.

The complex and systematic use of methods and techniques, among which preliminary observations are of primary importance, the creation of problem situations that perform the task, and the lack of ready means to resolve them, which stimulates search activity. Game moments enhance the creative state of children. Teplov B.M., noted that there can be no single method of stimulating children's creativity, especially since creativity is individual. In this regard, he spoke about the need for an individual approach to children.

Accounting for the individual characteristics of the child. It is important to take into account the temperament, and character, and features of some mental processes, and the mood of the child on the day when creative work is ahead.

An analysis of the provisions of domestic scientists on children's creativity made it possible to derive a definition of children's creativity. The artistic creativity of preschool children is the creation by a child of a significant, first of all, subjectively new product for him (drawing, modeling, story). By creativity, we will understand the process of creating images, and the search for ways, ways to solve a problem.

Thus, we came to the conclusion that at the present stage of development of psychological and pedagogical research, creativity should be understood as a social phenomenon, the essence of which lies in the creation of new cultural or material values ​​that are useful for society. The creative process itself will be an expression of individuality through the transformation of one's emotional states and feelings into a product of creative activity or activity itself.

Fine art is fully developed in the preschool period. The child has not only a desire to act with visual materials, but also to get a certain result, to express their emotions and feelings in activities.

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The ideas of gender-based differentiation of upbringing have historically developed a long time ago, and are present in almost all ethnic systems of the world. The experience of folk pedagogy, accumulated over the centuries ...

Improving the professional competence of teachers in the process of enhancing work with the family

professional competence teacher family An analysis of the pedagogical literature shows that the problem of developing the professional competence of a teacher is currently one of the most urgent. Competence, according to V.A...

Child development problems visual arts

The ability to be creative is a specific feature of a person, which makes it possible not only to use reality, but also to modify it. But before we talk about children's art...

Skill Development independent work junior schoolchildren in the process research activities

The fundamental requirement of society for a modern school is the formation of a personality that would be able to independently creatively solve scientific, industrial, social problems, think critically ...

The development of patriotism in the lessons of fine arts

The essence of patriotism is revealed in encyclopedias, dictionaries and special scientific works as a feeling of love for the Fatherland, inherent in the masses of people, awareness of one's duty and responsibility to it and for its future. This is, first of all...

Development of self-esteem of younger students in the learning process

Self-consciousness is a complex mental process, a special form of consciousness, characterized by the fact that it is directed at itself. In the process of self-consciousness, a person appears in two persons: he is both the cognizer and the cognized. )