1. Introduction
The outstanding Russian educational psychologist L.S. Vygotsky noted: “One of the very important questions of child psychology and pedagogy is the question of creativity in children, the development of this creativity and the importance of creative work for general development and maturation of the child" 1 . The scientist emphasized that creative processes are revealed in all their strength already in early childhood.
Modern teachers and methodologists also note that preschool age is most favorable for the development of not only imaginative thinking, but also imagination, mental processes that form the basis of creative activity. Therefore, the development of children's creativity is one of the main tasks preschool education.
The artistic and aesthetic development of preschool children should be achieved through a close relationship between learning and creativity. But learning should not be a mechanical process of transferring knowledge and skills. This is a two-way process. “Teaching all children certain knowledge and skills in artistic activity, the teacher must not forget that artistic capabilities are individual. It is important to create the best conditions for the development of every child raised in a team” 2. Encouraging a child to make independent, conscious artistic expressions, evoking positive emotions, and developing abilities, one can count on success. Education meets its purpose if it is educational, developing, and creative in nature.
The works of domestic scientists are devoted to the issues of artistic and aesthetic development of preschool children: Labunskaya G.V., Kuzin V.S., Pidkasisty P.I., Lerner I.Ya., Sakulina N.P., Teplov B.M., Flerina E.A. . and others. Currently, programs and methodological recommendations for the development of children's creativity have also been developed (Doronova T.N., Komarova T.S., Ignatiev E.I., Palagina N.N., Lilov A.N., Romanova E. S., Potemkina O.F., etc.). Children's creativity is also the subject of study by foreign researchers B. Jefferson, E. Kramer, V. Lonefeld, W. Lambert (USA), K. Rowland (England), etc.
Goal of the work: theoretical study of the relationship between learning and creativity in the artistic and aesthetic development of preschool children.
In accordance with the goal, it is necessary to solve the following tasks:
determine the essence of the concepts of “learning” and “creativity of preschool children”;
identify the relationship between learning and creativity in artistic aesthetic development preschoolers;
describe approaches to the development of artistic creativity of preschool children in domestic and foreign scientific schools.
2. Artistic creativity preschoolers
2.1. Creativity and learning in the artistic and aesthetic development of preschool children
Creativity is an integral activity of the individual, necessary for every modern person and person of the future. And its formation can and should begin in preschool period.
When they talk about the phenomenon of creativity, they mean the creation of a new, socially significant product. Of course, in this understanding, creativity is inaccessible to children preschool age. An analysis of the provisions on children's creativity by famous domestic scientists allows us to formulate the following definition: children's creativity- this is the creation by a child of a subjectively new product (drawing, modeling, story, fairy tale, song, game invented by the child) and an objectively significant effect for society, obtained in the form of the mental development of the child in the process of creative activity. The result is also important: inventing new, previously unused details for the known, characterizing the created image in a new way, inventing your own beginning, end, new actions, characteristics of heroes, etc. This is also the use of previously learned methods of depiction or means of expressiveness in a new situation to depict objects of a familiar shape - based on the assimilation of formative movement, generalized methods, images of fairy tale heroes, the child showing initiative in everything, coming up with different options for depiction, situations, etc.
Creativity is understood as the very process of creating images, for example, in drawing, etc., and the search in the process of activity for methods, ways of solving a problem (visual, musical, gaming and others) on the basis of previously learned general methods of a particular activity.
From the proposed understanding of children's artistic creativity, it becomes obvious that for its development, children need to receive various impressions about the surrounding life, nature, get acquainted with works of fine art, acquire certain knowledge about objects and phenomena, master skills and abilities, and master methods of activity.
The creative activity of children and the content of children’s work have a great influence on them. educational impact. Before drawing or sculpting, children conduct observations, read works of art, look at paintings, and have conversations that develop the interest and direction of children’s thoughts and attitude towards what is depicted in the drawing or sculpting. The preliminary mood and direction of thoughts and judgments created by the teacher are realized by the child himself in his creative action, in which he sincerely and deeply, in his own, childish way, thinks, experiences and acts.
Children's creativity, as an extremely naive product, is determined by the level of development of the child and cannot yet represent a socially useful value. It does not convince anyone except the child himself, does not teach him to understand life. It can only be assessed from a pedagogical point of view: what significance it has for the comprehensive development of the child’s personality and his creative abilities. In this regard, it deserves high praise and requires careful guidance.
Education For preschoolers, creative (artistic) activity is conceived as a complication of tasks and assignments that are set for children, the acquisition by children of technical skills in the field of drawing, modeling, etc.
Teaching children creative activities should be carried out on close, familiar objects. The principle of vitality, combined with literacy in imagery, is the right path to learning. This reflects the concern that the learning is close, interesting and accessible to children in content.
Creativity of preschool children is the ability, acquired in the process of education and training, not only to recreate what is observed, but also to transform what is perceived, introducing one’s own initiative into the design, content, form of what is depicted, i.e. the ability not only to copy, but also to reconstruct.
Every teacher knows: children’s ability to compose, invent, and draw requires systematic and targeted development. Research by E.G. Pilyugina, O.G. Tikhonova 3 convincingly prove: if you do not rush to show the child how to draw objects in the initial period of mastering the activity (i.e., up to three, or even up to four years), then the child begins to independently create images of rather complex objects much earlier. At the same time, it is necessary to develop his perception and ensure that he accumulates sensory experience and culture.
A child is not born a dreamer. His ability to compose and invent is based on the development of imagination, i.e. “creating new images based on past perceptions.” Imagination is necessary not only in the activities of an inventor or experimental scientist, but also in the most abstract areas of science. In no other field does imagination have such exceptional importance as in art, in the process of artistic creation. Without imagination, which is closely related to imaginative thinking (both of these processes are based on imaginative aesthetic perception), not a single artistic and creative activity is possible.
Consequently, for visual activities in children it is necessary to develop aesthetic perception, teach them to see the aesthetic properties of objects, the variety and beauty of form, combinations of colors and shades. Then the accumulated images will create that sensory experience, which, as it develops, interacts with the newly perceived ones. All educational work should contribute to this. After all, as L.S. wrote. Vygodsky, “the creative activity of the imagination is directly dependent on the richness and diversity of a person’s previous experience, because this experience represents the material from which fantasy structures are created. The richer a person’s experience, the more material his imagination has at his disposal” 4. It is also necessary to develop imaginative thinking.
What are the conditions for the development of a creative personality? Play and artistic activities provide great opportunities for this. Preschool age is sensitive for the development of imagination, and therefore an adult should not rush to give the child answers to the questions posed. Meaning everyday life children. The teacher needs to make the natural process of children’s life creative, to put children in situations of cognitive, artistic, and moral creativity. Special work in class, in games, etc. aimed at developing creativity, should organically enter the child’s life.
Another most important condition for the manifestation of creativity in artistic activity is the organization of an interesting, meaningful life for a child in preschool institution and family; enriching him with vivid impressions, providing emotional and intellectual experience, which serves as the basis for the emergence of ideas and will be the material necessary for the work of his imagination.
IN last years In a number of preschool institutions, classes in visual arts are taught by specialists. In this regard, it is especially important that such a specialist knows the children of the group and each child individually well. He needs to maintain constant contact with the teacher, know the general plan of the teacher’s work or participate in its preparation and analysis of the results of the work. In agreement with the teacher, the specialist includes in the general content of work with children everything that is necessary for subsequent visual activities (everyday observation of the phenomena that will be depicted, etc.) It is very useful to be present at children’s classes in other types of activities, to maintain relationships with parents, advising them to Sundays or during hours of communication with children, observe something, go to a museum with the children, etc. The more adults work with children, the greater the interaction there should be between them. The unified position of teachers in understanding the prospects for a child’s development and the interaction between them is one of the most important conditions for the development of children’s creativity.
Mastering artistic and creative activity is unthinkable without communication with art. Only in this way will the child understand the meaning, the essence of art, visual and expressive means and their subordinate meaning. And on this basis, he better understands his own activities.
Since creativity is always an expression of individuality, taking into account individual characteristics a child is necessary for the purposeful formation of creative abilities. It is important to take into account the temperament, character, and characteristics of certain mental processes (for example, the dominant type of imagination), and even the mood of the child on the day when creative work is to be done.
An indispensable condition for creative activity organized by adults should be an atmosphere of creativity. We mean adults stimulating such a state in children, when their feelings and imagination are “awakened,” when the child is passionate about what he is doing. At the same time, he feels free, relaxed, and comfortable. This is possible if an atmosphere of trusting communication, cooperation, empathy, faith in the child’s strengths, support in case of failures, and rejoicing in achievements reigns in the classroom or in home artistic activities.
The most important condition for the development of creativity is the comprehensive and systematic use of methods and techniques.
The creative activity of preschoolers is ensured by the motivation of the task, a careful attitude towards the process and result of children's work, and material support for their visual activities.
A condition for the development of children's creativity is also training, during which knowledge, methods of action, and abilities are formed that allow the child to realize any idea. For this, the knowledge and skills developed in children must be flexible and variable, and the skills must be generalized, that is, applicable in different conditions. Otherwise, already in older preschool age (by the age of seven), children experience a so-called “decline” in creativity. The child, realizing the imperfection of his drawings and crafts, loses interest in visual arts, which affects the development of the preschooler’s creative abilities as a whole.
Visual activity begins at an early age. If the conditions for its appearance and development are created in time, it will become a bright and beneficial means of self-expression and development of the child. With the development of visual activity, the child himself grows, develops, and changes.
Of course, for the creation of images and the development of children's creativity, imagination, a positive emotional attitude of children to visual activity and children's mastery of methods of depiction and expressive means of drawing are of fundamental importance.
This is facilitated by non-traditional drawing techniques:
fingers - palette,
hand print,
signet (can be made from an eraser),
tamponing (the pattern is applied with a piece of foam rubber),
stencil (more often used in combination with the tamponing technique),
spray (you can use a toothbrush),
monotype (gouache is used different colors and a sheet of paper folded in half. Initially, this technique can be used as an exercise to develop fantasy, imagination, sense of color and shape.),
blotography (you can use a cocktail straw to “promote” blots. Playing with blots helps develop the eye, coordination and strength of movements, fantasy and imagination.),
drawing on wet paper (use watercolor chalk to draw on wet paper placed on a damp napkin),
colored threads, freshly dyed threads are laid out on one side of a sheet folded in half, the halves of the sheet are folded, pressed against each other, smoothed out, then, without removing the palm from the paper, the threads are pulled out),
grattage (drawing-scratching with a pointed stick on a wax pad: a colored background is rubbed with watercolor with wax, covered with black gouache with a small amount of shampoo),
drawing on crumpled paper (in places where the paper is folded, the paint becomes more intense when painting, which gives a mosaic effect),
drawing with wax crayons (paint rolls off the surface on which wax chalk or a candle was drawn, and a drawing appears on a colored background),
stroke (you can draw with sanguine, pencil, charcoal).
By doing drawing, sculpting, and appliqué, children learn various materials (paper, paint, clay, crayons, etc.), become familiar with their properties, expressive capabilities, and acquire skills in working with them. The child’s knowledge base expands. Children learn the tools of human activity - pencil, brush, scissors and learn how to operate with them, and, consequently, the socio-historical experience of humanity embodied in them, which, of course, is important for intellectual development children.
2.2. The relationship between learning and creativity in the development of preschool children
Preschool pedagogy is faced with the task of determining how a child’s aesthetic attitude to reality and his artistic abilities are formed.
Psychology notes that any experience can be learned in two ways. One of them is reproducing, which is based on the child’s active assimilation of previously developed behavioral techniques and methods of action for their further improvement. This is the path of developmental learning. The other path is based on creative processing, the creation of new images and actions. This is the path of creativity. Subtle and mutually influencing connections are established between these two paths.
Training is by no means a mechanical process of transferring knowledge and skills. This is a two-way process. When teaching all children certain knowledge and skills in artistic activity, the teacher must not forget that artistic capabilities are individual. It is important to create the best conditions for each child raised in a team. When caring about the quality of pedagogical techniques, we must take into account children's reaction to them. Only by encouraging a child to engage in independent, conscious artistic expression, evoking positive emotions, and developing abilities, can one count on success. The results of artistic education should be judged not only by the fact that the child sang, drew, or read a poem correctly and expressively, but also by whether he has an interest in this activity, whether he strives for independent activity, whether he feels the shortcomings of his performance, is he able to overcome them? Training meets its purpose if it is educational and developmental in nature 5.
Great importance is attached to the formation of children’s aesthetic attitude towards works of art that reflect life phenomena. The child empathizes with what is expressed in artistic form, and thus joins the world of beauty. These experiences enrich his spiritual world. One of the most important pedagogical tasks is to create an emotional attitude in children towards their artistic practice in unity with teaching drawing techniques. Mastering skills encourages children to freedom of expression and creativity.
No less important is the task of imaginative cognition of reality. In the drawings, the child comes closer to a realistic reflection of his experiences. The child’s assimilation of methods of perception aimed at independently examining objects, their forms, distinguishing their properties - all this activates learning and develops artistic and sensory abilities. Education encourages the child to transfer what he has learned under the guidance of the teacher into independent activity. On their own initiative, children practice methods of action that have not yet been sufficiently mastered, but that interest them. Properly organized education gives children the opportunity for self-expression, self-learning, and self-control.
Children's creativity is the initial stage in the development of creative activity. At the same time, a child’s creativity can bring pleasure with its spontaneity and freshness of expression. It is also necessary to point out the social and pedagogical value of children’s creativity. The child reveals his understanding of the environment, his attitude towards it, and this helps to reveal his inner world, the characteristics of perception and ideas, his interests and abilities. In his artistic creativity, a child discovers something new for himself, and for those around him - something new about himself 6.
All this allows us to speak about the legitimacy of extending the concept of creativity to the activities of a child, limiting it, however, to the word “children’s” and noting the conventionality of its application. Analysis of the products of children's creativity allowed researchers to apply this term mainly to children of older preschool age. But even at earlier stages, children aged 2-5 years appear as a result of their search for elements of artistic and figurative embodiment in a drawing.
However, not every children's product can be called creativity. Let us outline indicators by which one can judge the quality of creative relationships, methods of action and products.
The first group of indicators characterizes children’s attitude to creativity: their passion, the ability to “enter” imaginary circumstances, conditional situations, and the sincerity of their experiences. On the basis of this, artistic abilities are intensively developed.
The second group of indicators characterizes the quality of children's creative actions: speed of reactions, resourcefulness in solving new problems, use of various options, combining familiar elements into new combinations, originality of methods of action.
The third group is indicators of product quality: children’s selection of characteristic features of life events, characters, objects and their reflection in the drawing, the search for artistic means that successfully express the children’s personal attitude and their intentions.
Mastering expressive means creates the prerequisites on the basis of which children freely express themselves in creativity.
The ways of forming artistic creativity are unique. The most important pedagogical condition is organizing children’s observations of the life around them, finding what can be reflected in drawings. The development of ways of “listening”, “peering” into the imaginative world of art, into the sounds and colors of the natural and objective world is the path along which a child’s creativity develops.
The opportunity to use works of art to enrich children's creative experiences is of great importance. By selecting several works in which one or another medium predominates (for example, color in painting), you can attract the child’s attention to it. Repeated encounters with a similar phenomenon help you take a closer look, compare it, and reflect it in your drawings.
Of course, creativity does not develop as consistently and gradually as learning. The stages of the formation of children's creativity with the formulation of various creative tasks are important.
The term “creative tasks” is known in preschool pedagogy. There are two components worth noting. The tasks are called creative, since children must combine, improvise, compose, i.e. find a new expression on your own. But at the same time, they are called tasks, since children’s creativity is not expected to be completely independent, but with the participation of an adult who organizes the environment, conditions, materials, and encourages children to creative actions. The success of this complex and exciting activity depends on the teacher’s personality, his passion, and ability to participate in children’s creativity.
Creative tasks stimulate artistic imagery in children’s actions, evoke certain feelings, and stimulate imagination. Of course, a lot happens intuitively, unconsciously. But psychological data indicate that creative intuitive actions arise on the basis of experience and repeated attempts to solve a new problem.
The study of ways to form creativity made it possible to identify three stages in increasing the complexity of tasks.
1. Tasks that require children to have initial orientation in creative activities. An attitude is created toward ways of action that are new to them: compose, invent, find, change. Children act together with the teacher, expressing themselves in individual cases, using elements of creative actions.
2. Tasks that provoke purposeful actions in children and searches for solutions. Thanks to tasks of this type, the child finds himself in constantly changing situations and begins to understand that based on the old, new combinations can be found, modified, and improved on what was done earlier. An atmosphere arises joint creativity with an adult, the child receives the first idea that through joint efforts it is possible to bring pleasure to others.
3. Tasks that invite independent actions by children. They think over the idea, plan which artistic means are best to use. These tasks reveal the abilities of each child, he sees and feels the possibility of using his products in life (exhibitions of children's drawings, etc.).
It is necessary to introduce the activity of productive creativity into the content of artistic education of children. The tasks of developing creative abilities provided for by the program must receive a specific solution.
Learning and creativity have their own specific motives. When teaching, children are encouraged to actively assimilate artistic experience; they must imitate certain standards of expression and image in drawing, while showing initiative and independence of action. In creativity, children's efforts are aimed at finding new combinations, combinations, and options. 7
During training, children master a range of educational information and skills, which leads to the development of versatile artistic abilities. The level of knowledge and skills is established in accordance with age. In creativity, children master methods of creative action that prepare them for further independent manifestations in new conditions. The quality of creative actions is determined by many components: creative imagination and generalization of real practice, intuition, enriched by the child’s artistic experience and intentionality of searches.
The nature of pedagogical leadership is also different. In teaching, systematicity and gradual assimilation of the material by all children is essential. Direct instructions are used, sometimes a sample. At the same time, art classes should be full of aesthetic experiences, active and exploratory actions of children. In the development of creativity, only approximate stages are noted, which may vary. Capable children overcome these stages in a shorter time. The individual, originality of children's products appears more clearly. A special role is played by an atmosphere of passion and the possibility of joint creativity between an adult and a child. A comparison of learning and creativity showed that they are specific in their motives, results and management methods. However, there are significant connections between them. Only when learning is educational and developmental in nature is the successful development of creativity possible. Active acquisition of knowledge and skills by children artistic perception and performance is that necessary experience in which their creative self-expression will receive full development, will be meaningful, rich, vibrant and will acquire a truly aesthetic character.
The essence of learning is a means of artistic education and development. Training is aimed at the formation of an aesthetic attitude and experience, figurative knowledge of reality and the formation of artistic perception.
Children's creativity, in turn, activates the learning process. After all, children are required to use creative actions in their improvisations, compositions, and construction. The initiative, independence and activity that develops encourage the acquisition of knowledge, skills and abilities. The ability for self-learning and self-development develops.
Characterizing children's creativity, we can highlight the following: features:
independent transfer of knowledge and skills to a new situation,
vision of a new problem of a traditional situation,
vision of the structure of the object,
taking into account alternatives when solving a problem,
vision of a new function of an object in contrast to the traditional one,
combining and transforming previously known methods of activity when solving a new problem,
discarding everything known and creating a fundamentally new approach.
An important indicator of children's creativity is independence, initiative, originality in solving a plan, passion for the process of its implementation.
Ways to form artistic creativity:
Variability of pedagogical conditions,
Formation of gradual creativity in a child,
The relationship between perception, activity, creativity and the development of artistic abilities.
Indicators characterizing children’s attitude to creativity, their interests and abilities:
Sincerity, truthfulness, spontaneity of experiences;
Passion, capture by activity - a quality that contributes to the intensification of volitional efforts in achieving a creative goal;
Changing the motives for activities that give children pleasure with their results;
The emergence of needs and interests in creativity in connection with various types of artistic practice;
Developed creative imagination, on the basis of which past experience is transformed;
The ability to “enter” the depicted circumstances into conditional situations;
Special artistic abilities (figurative vision, poetic and musical ear), allowing you to successfully solve creative tasks.
Indicators of the quality of creative action methods:
Additions, changes, variations, transformations of already familiar material, creation of a new combination from learned, old elements;
Application of known material in new situations;
Independent searches, testing the best solution to a task;
Finding new solutions when the old ones are no longer enough, independence and initiative in applying them;
Quick reactions, resourcefulness in action, good orientation in new conditions;
Imitating a model, using it to embody new images, but finding one’s own original methods for solving creative tasks.
The following factors provide significant activation of a preschooler’s creative thinking: situations of incompleteness or openness; encouraging multiple questions; promoting responsibility and independence; emphasis on independent observations, developments, generalizations; attention to the interests of children on the part of adults; internal motives of creative activity.
On the other hand, the following pedagogical conditions hinder the development of a child’s creative potential: limitation of activity, initiative, independence; criticism of the child’s creative attempts, disapproving assessments of his activities; stereotypes in thinking, learning, behavior; time limit, strict regulation of activities, excessive care; lack of freedom to choose; work out of necessity, without desire.
2.3. Approaches to the development of artistic creativity of preschool children in domestic and foreign scientific schools
Approaches to the development of children's artistic creativity are quite diverse. Sometimes they differ radically, but more often than not, while attaching great importance to the development of this creativity, scientists disagree on the details.
Probably the most important dividing line between schools is the answer to the question: should children be taught visual arts or should they be given the opportunity for creative self-expression? The works of domestic and foreign teachers contain different views and opinions on this problem. Thus, A. Bakushinsky and his supporters believed that children’s creativity is perfect and they have nothing to learn from adults. K. Lepikov, E. Razygraev, V. Beyer, as well as foreign researchers C. Ricci (Italy) and L. Tadd (USA), on the contrary, emphasized the special importance of training, without which children’s creativity does not develop, remaining on the same level. The debate on this topic was especially heated in the 20s of the last century. Later, the second point of view was supported by Russian teachers E. Flerina and N. Sakulina. V. Kotlyar also believes that an adult should help a child master ways of creatively reflecting the surrounding reality. At the same time, the meaningfulness that an adult brings to a child’s activity does not at all violate the originality of the child’s image.
T. Komarova pays special attention to this problem, who emphasizes the need to develop visual skills in children and writes about the advisability of introducing them to non-traditional drawing techniques.
But one cannot fail to note the results of research by E.G. Pilyugina, O.G. Tikhonova, who convincingly prove that if you do not rush to show the child how to draw objects in the initial period of mastering the activity (up to three to four years), then the child begins to independently create images of rather complex objects much earlier. At the same time, it is necessary to ensure that he accumulates sensory experience, culture, and also needs to develop his perception.
A teacher or parent should strive to create a joyful atmosphere, full of interesting, sometimes unexpected experiences, which is necessary for the successful creative activity of children and their self-expression in creativity.
It is necessary to provide variability in the situations in which they have to act, because this will activate their mental activity. To foster creativity, it is important to change conditions from time to time and combine individual and collective work. For example, a child is happy with his drawing, but collective work on an unfolded sheet of paper gives him special pleasure. Common efforts aimed at achieving a goal bring children a lot of joy. All this expands the scope of creative manifestations, and activity becomes active. According to P.P. Blonsky, “every child is potentially a creator of all kinds, including aesthetic values: by building a house, he shows his architectural creativity, sculpting and drawing, he is a sculptor and painter” 8.
E. Bugrimenko, A. Wenger, K. Polivanova, E. Sutkova believe that not all visual arts and design activities contribute to the development
imaginative thinking on high level efficiency. Much depends on the methodology and conditions for conducting classes in drawing, modeling, applique, design, on how these activities are included in the pedagogical process, on their integration with other artistic and creative activities. Under no circumstances should you impose a solution to a visual problem 9 .
A prominent teacher in the field of preschool education, A. Volkova, emphasizes: “Nurturing creativity is a versatile and complex impact on a child. We have seen that the mind (knowledge, thinking, imagination), character (courage, perseverance), feeling (love of beauty, fascination with an image, thought) take part in the creative activity of adults. We must cultivate these same aspects of personality in a child in order to more successfully develop creativity in him. Enriching a child’s mind with various ideas and some knowledge means providing abundant food for children’s creativity. Teaching them to look closely and be observant means making their ideas clearer and more complete. This will help children more vividly reproduce in their creativity what they have seen” 10.
“Development of artistic and creative activity of children in a realistic direction,” writes N.P. Sakulin, - it is impossible without the aesthetic mastery of reality (by mastery we mean perception, experience, and evaluation). With such mastery of reality, a person accumulates a stock of ideas (images), which is used as the basis for artistic creativity" 11 .
A.V. Zaporozhets, arguing that “children’s creativity exists,” drew attention to the fact that it is necessary to learn to manage the peculiarities of its manifestation, to develop methods that encourage and develop children’s creativity. He assigned a large role to artistic activities, as well as to all educational work with children to develop their perception of beauty in the surrounding life and in works of art, which plays a big role in the general and creative development of the child. Interest in children's visual arts is determined by its importance for the development of the child's personality. One of the conditions for the manifestation of creativity in artistic activity is the organization of an interesting life for a child.
The process of a child’s artistic creativity is closely related to speech. Psychological and pedagogical observations of this process (to a greater extent this concerns visual creativity and play) show that the process of creating an image by children, as a rule, was accompanied by speech (V. Gerbova, E. Ignatiev, T. Komarova,
B. Kuzin, N. Sakulina, N. Sokolnikova, T. Shpikalova and others). Children name the objects they depict, describe, highlighting and noting characteristic features. Speech accompaniment of the process of play and images allows the child to realize what he is drawing, sculpting, cutting out and pasting, to understand and highlight the qualities of what is depicted, and to consistently build this process. E.I. Ignatiev believes that it is necessary to cultivate in children the ability to reason, compare, and name what is depicted. “Cultivating the ability to reason correctly,” he writes, “in the process of drawing is very useful for the development of a child’s analyzing and generalizing vision of an object and always leads to improvement in the quality of the image. The earlier reasoning is included in the process of analyzing the depicted object, the more systematic this analysis is, the sooner and better the correct image is achieved. The child’s ability to use words to denote the characteristics of objects contributes to the correctness and accuracy of his depiction of every line, every stroke” 12.
Based on the above, it is necessary not only not to suppress children’s conversations during the creative process, but, on the contrary, to encourage children’s communication, stimulate it, asking how they will create an image, in what sequence, what materials they may need additionally, etc. .
The importance of children's creativity in their upbringing and development of various aspects of personality is also noted by foreign scientists (B. Jefferson, E. Kramer, V. Lonefeld, W. Lambert (USA), K. Rowland (England), etc.). Thus, K. Rowland argues that visual activity contributes to the cultural development of the individual. E. Kramer emphasizes the importance of this activity for intellectual development and the formation of personality maturity. The American scientist V. Lonefeld calls visual creativity an intellectual activity, also pointing out its important role in emotional development child.
According to V. Stern, a child’s drawing is by no means an image of a specifically perceived object, but an image of what he knows about it. Children's art, according to psychologists from the Leipzig School of Complex Experiences, is expressive in nature - the child depicts not what he sees, but what he feels. Therefore, a child’s drawing is subjective and often incomprehensible to outsiders.
American authors V. Lowenfeld and V. Lombert Britten believed that artistic creativity has a huge impact on the development of a child. A child may find himself in drawing, which will hinder his development. The child may experience self-identification, perhaps for the first time. Moreover, his creative work in itself may not have aesthetic significance. What is more important is the change in its development.
It is worth mentioning such an interesting foreign pedagogical phenomenon as the Waldorf education system, the basis of which is respect for the individuality of each person, his freedom and creative potential. Waldorfs were among the first to talk about the fact that childhood is a unique
period in a person’s life, that a child has limitless creative and spiritual possibilities, that parents and educators should not strive to quickly make a child an adult, but, on the contrary, help him stay small longer, reveal his creative potential as fully as possible, and enjoy all the delights of an early age. Drawing, modeling from specially prepared wax (plasticine is not used!) and practicing other types of art occurs on the principle of imitation in the form of play. The day is divided into three parts: spiritual (where active thinking predominates), spiritual (learning music and eurythmy dance), creative-practical (here children learn primarily creative tasks: sculpting, drawing, carving wood, sewing, and so on). In Waldorf kindergarten, great attention is paid to manual labor: all children, both boys and girls, learn to embroider, carve wood, work on a pottery wheel and even a loom.
The Italian teacher Maria Montessori created another holistic psychological and pedagogical system of individual education for preschool children. The main characteristics of this system are a person-oriented goal (the child is at the center of education), creatively productive content of education, and freedom in education. This system incorporates humanistic traditions of J-J Rousseau, I-G Pestalozzi, F. Frebel, who attached particular importance to the innate potential of the child and his ability to develop in conditions of freedom and love. One of the leading principles of Montessori pedagogy - “Help me do it myself” - illustrates the fact that an adult does not teach a child, but helps him to learn. the world. The main condition for this is freedom and independence.
The outstanding French teacher and humanist Célestin Frenet argued that every child contains more truths than all the pedagogical textbooks in the world combined. He considered the “core values” to be health, the development of the child’s creative potential, recognition of the child’s desire for maximum self-development, the creation of an environment favorable to the development of children, and the provision of a “natural, lively and comprehensive educational process.” The main goal of education: “maximum development of the child’s personality in a reasonably organized society that will serve him, and which he himself will serve.”
S. Frenet considered nature, work in the school-workshop, mental activity, artistic creativity, the child’s own experience.
3. Conclusion
The creative development of the personality of a preschooler is a priority task in educating the younger generation.
Learning and creativity, being independent phenomena, are inextricably linked in the aesthetic development of preschool children. To engage in creativity, a child must acquire certain knowledge, skills and abilities. In order for a child to express himself naturally and freely in creativity, he must master at least the simplest artistic means. The task of a teacher or parent is to help him with this.
Of particular importance for the formation of creativity at this stage is the child’s mastery of methods of sensory examination of materials, which consists in children’s mastering the shape, color and quality of the material.
Visual and play activities are effective means creative development of preschool children.
Learning leads to the development of creativity and imagination. The child needs to be taught to see his surroundings imaginatively. Acquaintance with various phenomena of human life, fairy tales, songs, works of art is a source of “food” for creativity. Works of art help a child to feel more keenly the beauty in life and enrich the world of his emotional experiences. At the same time, they contribute to the emergence of artistic images in his work.
The greatest difficulty is creating a joyful atmosphere full of interesting, sometimes unexpected experiences, which is necessary for the child to successfully carry out creative activities and satisfies the child’s internal need for self-expression in creativity.
To foster creativity, it is important to change conditions from time to time and combine individual and collective work.
The problem of the development of children's creativity has had a fairly wide range in the history of scientific research, and has worried scientists in various fields and directions, both domestic and foreign. The problem of developing children's artistic creativity is still quite relevant today. This allows you to rethink the previous views of famous scientists and find new ways to solve these problems.
List of used literature:
1. Archazhnikova L.G. Profession – music teacher: A book for teachers. M.: Education, 1984.
2. Library of developmental education. Issue II. "Children's readiness for school, Diagnosis of mental development and correction of its unfavorable options." Bugrimenko E.A., Venger A.L., Polivanova K.N., Sutkova E.Yu. edited by V.V. Slobodchikov. Tomsk, 1992.
3. Vetlugina N. A. Main problems Vetlugina N. A. // . – M.: Pedagogy, 1972 . – 215 p.
4. Vygotsky, L.S. Imagination and creativity in childhood. St. Petersburg: SOYUZ, 1997. – 96 p.
5. Grigorieva G.G. Visual activities of preschool children. Moscow, 1999.
6. Komarova T. S. Children in the world of creativity. M., 1994.
7. Komarova T.S. Children's artistic creativity. – M.: Mozaika-Sintez, 2008, p.20
8. Komarova T.S. School of aesthetic education. – M.: Mozaika-Sintez, 2010, p.67
9. Sakulina N.P. Drawing in preschool childhood. M., 1956. P. 107.
10 Artistic creativity in kindergarten. Manual for teachers and music director/ Ed. N. A. Vetlugina. Publishing house "Enlightenment", M., 1974
1 Vygotsky, L.S. Imagination and creativity in childhood. St. Petersburg: SOYUZ, 1997. – 96 p.
2 Artistic creativity in kindergarten. A manual for educators and music directors / ed. N. A. Vetlugina. Publishing house "Enlightenment", M., 1974.
3 Komarova T.S. School of aesthetic education. – M.: Mozaika-Sintez, 2010, p.67
4 Komarova T.S. Children's artistic creativity. – M.: Mozaika-Sintez, 2008, p.20
5 Artistic creativity in kindergarten. A manual for educators and music directors / Ed. N. A. Vetlugina. Publishing house "Enlightenment", M., 1974
6 Vetlugina N. A. Main problems artistic creativity of children/ Vetlugina N. A. // Artistic creativity and the child. – M.: Pedagogy, 1972 . – 215 p.
7 Grigorieva G.G. Visual activities of preschool children. Moscow, 1999.
8 Archazhnikova L.G. Profession – music teacher: A book for teachers. M.: Education, 1984, p.141
9 Library of developmental education. Issue II. "Children's readiness for school, Diagnosis of mental development and correction of its unfavorable options." Bugrimenko E.A., Venger A.L., Polivanova K.N., Sutkova E.Yu. edited by V.V. Slobodchikov. Tomsk, 1992.
10 Komarova T. S. Children in the world of creativity. M., 1994.
11 Sakulina N.P. Drawing in preschool childhood. M., 1956. P. 107.
The formation of a creative personality is one of the important tasks of pedagogical theory and practice at the present stage. Its solution should begin already in preschool childhood. The most effective means for this is the visual activity of children in a preschool institution.
In the process of drawing, sculpting, and appliqué, the child experiences a variety of feelings: he is happy about the beautiful image that he created himself, and he is upset if something doesn’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, remember their characteristic features and details, master visual skills and abilities, and learn to use them consciously. Aristotle also noted that drawing contributes to the diversified development of a child. Outstanding teachers of the past - J. A. Komensky, I. G. Pestalozzi, F. Frebel - and many domestic researchers wrote about this. Their work shows: drawing and other types of artistic activities create the basis for full, meaningful communication between children and with adults; perform a therapeutic function, distracting children from sad, sad events, relieve nervous tension, fears, cause a joyful, upbeat mood, and provide a positive emotional state. Therefore, it is so important to widely include a variety of artistic and creative activities in the pedagogical process. Here every child can express himself most fully without any pressure from an adult.
Management of visual activities requires the teacher to know what creativity in general, and especially children’s, is, knowledge of its specifics, the ability to subtly, tactfully, supporting the initiative and independence of the child, to promote the mastery of the necessary skills and abilities and the development of creative potential. The famous researcher A. Lilov expressed his understanding of creativity as follows: “...creativity has its own general, qualitatively new signs and characteristics that define it, some of which have already been quite convincingly revealed by the theory. These general natural points are as follows:
- 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 transformative role of a conscious social subject (class, people, society) in its interaction with the objective reality."
Another researcher, V. G. Zlotnikov, points out: artistic creativity is characterized by the continuous unity of cognition and imagination, practical activity and mental processes; it is a specific spiritual and practical activity, as a result of which a special material product arises - a work of art.
What is the visual creativity of a preschool child? Domestic teachers and psychologists consider creativity as the creation by a person of something objectively and subjectively new. It is subjective novelty that constitutes the result of the creative activity of children of preschool and primary school age. By drawing, cutting and pasting, a preschool child creates something subjectively new for himself. The product of his creativity does not have any universal novelty or value. But its subjective value is significant.
The visual activity of children, as a prototype of adult activity, contains the socio-historical experience of generations. It is known that this experience was carried out and materialized in tools and products of activity, as well as in methods of activity developed by socio-historical practice. A child cannot master this experience without the help of an adult. It is the adult who is the bearer of this experience and its transmitter. By mastering this experience, the child develops. At the same time, the visual activity itself, as a typical child’s activity, including drawing, modeling, appliqué, contributes to the diversified development of the child.
How do famous domestic scientists define children's creativity? How is its significance determined for the formation of a child’s personality?
Teacher V.N. Shatskaya believes: in the conditions of general aesthetic education, children's artistic creativity is rather considered as a method of the most perfect mastery of a certain type of art and the formation of an aesthetically developed personality, rather than as the creation of objective artistic values.
Children's creativity researcher E.A. Flerina evaluates it as a child’s conscious reflection of the surrounding reality in drawing, modeling, design, a reflection that is built on the work of imagination, displaying his observations, as well as impressions received through words, pictures and other forms of art. The child does not passively copy the environment, but processes it in connection with accumulated experience and attitude towards what is depicted.
A. A. Volkova states: “Nurturing creativity is a versatile and complex impact on a child. In the creative activity of adults, the mind (knowledge, thinking, imagination), character (courage, perseverance), feeling (love of beauty, fascination with an image, thought) take part. We must cultivate these same aspects of personality in a child in order to more successfully develop creativity in him. Enriching the child’s mind with various ideas, some knowledge means giving abundant food for creativity. Teaching to look closely, to be observant means making ideas clear, more complete. This will help children more vividly reproduce what they see in their creativity."
I. Ya. Lerner defines the features of a child’s creative activity as follows:
independent transfer of previously acquired knowledge to a new situation;
vision of a new function of an object (object);
vision of the problem in a standard situation;
vision of the structure of the object;
ability to make alternative solutions;
combining previously known methods of activity with new ones.
I. Ya. Lerner states: creativity can be taught, but this teaching is special, it is not the same as knowledge and skills that are usually taught.
We were convinced of the correctness of this idea in our own practice. However, we note: the independent transfer of previously acquired knowledge to a new situation (the first trait according to Lerner) can manifest itself in children if they learn to perceive objects, objects of reality, and learn to identify their forms, including in this process the movements of both hands along the contour of the object. (In other words, just as we outline an object, looking at it, we also draw - with pencils, brushes, felt-tip pens.) Only then will children be able to use this method independently, only then will they gradually acquire the freedom to depict any objects, even those that do not have a clearly fixed shape, for example, clouds, puddles, floating ice, unmelted snow.
The second feature according to Lerner - the vision of a new function of an object (object) - appears when the child begins to use substitute objects, for example, turning cut narrow and wide strips into parts of objects or objects; plays with spoons, imagining that he is playing in an orchestra. This ability to highlight a form, a part, in the process of perception, which we form in children, leads them to seeing the structure of an object, mastering the ways of conveying it in drawing, modeling, and appliqué. That's why we recommend creative activities include in the work plan the topic “Teaching to create images of animals, the shape and structure of which have been learned.”
By introducing children to works of art (fine arts, literature, music), we thereby introduce them to the world of standards of beauty, i.e. We implement the goals and objectives mentioned above - to understand the expressiveness of means and figurative solutions, the variety of color and compositional structure. Knowing, for example, the secrets of Dymkovo painting, a child will undoubtedly use them, creating images of fairy-tale animals and birds; comprehends the qualities of what is depicted, the remembered characteristic features.
What characterizes creativity? In this regard, B. M. Teplov writes: “The main condition that must be ensured in children’s creativity is sincerity. Without it, all other virtues lose meaning.”
This condition, naturally, is satisfied by the creativity “that arises in a child independently, based on an internal need, without any deliberate pedagogical stimulation.” But systematic pedagogical work, according to the scientist, cannot be built relying only on independently arising creativity, which is not observed in many children, although these same children, when organized in an organized manner, sometimes display extraordinary creative abilities.
This is how a pedagogical problem arises - the search for such incentives for creativity that would give rise to a genuine, effective desire to “compose” in the child. Lev Nikolaevich Tolstoy found such an incentive. When starting to teach peasant children, the great Russian writer already understood how significant the task of “developing children's creativity” was; as one of the possible solutions, he offered children joint compositions (see the article “Who should learn to write from whom?”). So, what is the essence of involving children in artistic creativity, according to L.N. Tolstoy? Show not only the product, but also the very creative process of writing, drawing, etc. in order to see with my own eyes how “it’s done.” Then, as the domestic researcher of the psychology of children's creativity E. I. Ignatiev writes, the child “from a simple listing of individual details in a drawing moves on to an accurate transfer of the features of the depicted object. At the same time, the role of the word in visual activity changes, the word increasingly acquires the value of a regulator directing the process of depiction , controlling the techniques and methods of depiction."
In the process of drawing and modeling, the child experiences a variety of feelings; as we have already noted, he rejoices at a beautiful image, gets upset if something doesn’t work out, tries to achieve a result that satisfies him, or, conversely, gets lost, gives up, refuses to study (in this case, the teacher’s sensitive, attentive attitude and help are needed). Working on an image, he acquires knowledge, his ideas about the environment are clarified and deepened. The child not only masters new visual skills and abilities that expand his creative capabilities, but also learns to consciously use them. A very significant factor from the point of view of mental development. After all, every child, when creating an image of a particular object, conveys the plot, includes his feelings, and understanding of how it should look. This is the essence of children's visual creativity, which manifests itself not only when the child independently comes up with the theme of his drawing, modeling, appliqué, but also when he creates an image on the instructions of the teacher, determining the composition, color scheme and other means of expression, making interesting additions , and so on.
Analysis of provisions on children's creativity by famous domestic scientists - G. V. Latunskaya, V. S. Kuzin, P. P. Pidkasisty, I. Ya. Lerner, N. P. Sakulina, B. M. Teplov, E. A. Flerina - and ours Many years of research allow us to formulate its working definition. By artistic creativity of preschool children we mean the creation of a subjectively new (important for the child, first of all) product (drawing, modeling, story, dance, song, game); creation (inventing) of previously unused details that characterize the image being created in a new way (in a drawing, story, etc.), different options for the image, situations, movements, its beginning, end, new actions, characteristics of heroes, etc. P.; the use of previously learned methods of depiction or means of expressiveness in a new situation (to depict objects of a familiar shape - based on mastering facial expressions, gestures, voice variations, etc.); showing initiative in everything.
By creativity we will understand the very process of creating images of a fairy tale, story, dramatization games in drawing, etc., the search in the process of activity for methods, ways to solve a problem, visual, gaming, musical.
From our assumed understanding of artistic creativity, it is obvious: in order to develop creativity, children need certain knowledge, skills and abilities, methods of activity that they themselves, without the help of adults, cannot master. In other words: we are talking about purposeful learning, mastering rich artistic experience.
For baby ( junior groups) creativity in creating an image can manifest itself in changing the size of objects. Let me explain this idea: class in progress, children make apples, and if someone, having completed the task, decides to independently make a smaller or larger apple, or a different color (yellow, green), for him this is already a creative decision. The manifestation of creativity in younger preschoolers also includes some additions to modeling, drawing, say, a stick - a stalk.
As skills are mastered (already in older groups), creative solutions become more complex. Fantastic images, fairy-tale characters, palaces, magical nature, outer space with flying ships and even astronauts working in orbit appear in drawings, modeling, and applications. And in this situation, the teacher’s positive attitude towards the child’s initiative and creativity is an important incentive for the development of his creativity. The teacher notes and encourages the creative discoveries of children, opens exhibitions of children's creativity in the group, in the hall, in the lobby, and decorates the institution with the works of pupils.
In a child’s creative activity, three main stages should be distinguished, each of which, in turn, can be detailed and requires specific methods and techniques of guidance on the part of the teacher.
The first is the emergence, development, awareness and design of the plan. The theme of the upcoming image can be determined by the child himself or proposed by the teacher (its specific decision is determined only by the child himself). The younger the child, the more situational and unstable his plan is. Our research shows: initially, three-year-old children can implement their plans only in 30-40 percent of cases. The rest basically change the idea and, as a rule, name what they want to draw, then create something completely different. Sometimes the idea changes several times. Only by the end of the year, and only if classes are carried out systematically (in 70-80 percent of cases), do children’s ideas and implementation begin to coincide. What is the reason? On the one hand, in the situational nature of a child’s thinking: at first he wanted to draw one object, suddenly another object comes into his field of vision, which seems more interesting to him. On the other hand, when naming the object of the image, the child, having still very little experience in the activity, does not always correlate what he has in mind with his visual capabilities. Therefore, having picked up a pencil or brush and realizing his inability, he abandons the original plan. The older the children, the richer their experience in visual activity, the more stable their idea becomes.
The second stage is the process of creating the image. The topic of the task not only does not deprive the child of the opportunity to show creativity, but also guides his imagination, of course, if the teacher does not regulate the solution. Significantly greater opportunities arise when the child creates an image according to his own plans, when the teacher only sets the direction for choosing the topic and content of the image. Activities at this stage require the child to be able to master methods of depiction, expressive means specific to drawing, sculpting, and appliqué.
The third stage - analysis of the results - is closely related to the previous two - this is their logical continuation and completion. Viewing and analysis of what children create is carried out at their maximum activity, which allows them to more fully comprehend the result of their own activities. At the end of the lesson, everything created by the children is exhibited at a special stand, i.e. Each child is given the opportunity to see the work of the entire group and note, with a friendly justification for their choice, those that they liked the most. Tactful, guiding questions from the teacher will allow children to see the creative discoveries of their comrades, an original and expressive solution to the topic.
A detailed analysis of children's drawings, modeling or appliqué is optional for each lesson. This is determined by the features and purpose of the images being created. But here’s what’s important: the teacher conducts the discussion of the work and their analysis in a new way every time. So, if the children made Christmas tree decorations, then at the end of the lesson all the toys are hung on the furry beauty. If you created a collective composition, then upon completion of the work the teacher draws attention to the general appearance of the picture and asks you to think about whether it is possible to complement the panorama, make it richer, and therefore more interesting. If children decorated a doll's dress, then all the best works are "displayed in the store" so that the doll or several dolls can "choose" what they like.
Experts distinguish three groups of means, the purpose of which is to increase the level of aesthetic education: art in all forms, the surrounding life, including nature, artistic and creative activity. Thanks to these interconnected means, the child actively participates in the experience of creative activity of adults. However, effective leadership is possible provided that the teacher knows and takes into account the mental processes that underlie children's creativity and, most importantly, systematically develops them.
What mental processes are we talking about? Of all the means of aesthetic education, all types of artistic activity, we identify common groups that form the basis of creative abilities.
1. Perception of objects and phenomena of reality and their properties, which has individual differences. It is known that in their drawings, modeling, and applications, children reflect the impressions received from the world around them. This means that they have formed various impressions about this world. Ideas about objects and phenomena are formed on the basis of their perception. Therefore, the most important condition for creativity is to develop children’s perception (visual, tactile, kinesthetic) and to form a diverse sensory experience.
How should education be carried out so that children acquire the necessary knowledge and ideas? Psychologists note: syncretism, unity and lack of clarity of perception images are characteristic of children of primary preschool age. To depict an object or phenomenon, a child must imagine all its basic properties and convey them so that the image is recognizable. For a small artist this is quite significant.
The teacher forms knowledge and ideas about the environment purposefully. These include special observations and examination of the subject during didactic games. The teacher directs the child’s perception to certain properties and qualities of objects (phenomena). After all, not all preschoolers come to kindergarten having a rich experience of perceiving their surroundings - imaginative, aesthetically colored, emotionally positive. For the majority, it is limited to fragmentation, one-sidedness, and often simply poverty. In order to develop aesthetic perception in children, the teacher himself must have the ability of aesthetic vision. V. A. Sukhomlinsky also emphasized: “You cannot be a teacher without mastering a subtle emotional and aesthetic vision of the world.”
Children should not just look at an object, recognize and highlight its properties: shape, structure, color, etc. They should see its artistic merits, which are to be depicted. Not everyone is able to independently determine the beauty of an object. The teacher shows them this. Otherwise, the concept of “beautiful” will not acquire a specific meaning in the eyes of the student and will remain formal. But in order for him to understand why this or that object, this or that phenomenon is beautiful, the teacher himself, we repeat, must feel and see the beauty in life. He constantly develops this quality in himself and his children.
How to do it? Day after day, watch with your children the phenomena of nature - how the buds swell on trees and bushes, how they gradually blossom, covering the tree with leaves. And how varied are the gray clouds driven by the wind of bad weather, how quickly do their shape, position, and color change! Pay attention to the beauty of the movement of the clouds, the changes in their shape. Observe how beautifully the sky and surrounding objects are illuminated by the rays of the setting sun.
This kind of observation can be carried out with different objects. The ability to contemplate beauty and enjoy it is very important for the development of children's creativity. It is not without reason that in Japan, where the culture of aesthetic perception is so high, teachers develop children’s powers of observation, the ability to listen attentively, to peer into their surroundings - to catch the difference in the sound of rain, to see and hear how heavy drops loudly knock on the glass, how joyfully the sudden summer “mushroom” rings. " rain.
Objects for observation are found daily. Their goal is to expand children's understanding of the world, its variability and beauty. The Russian language is so rich in epithets, comparisons, metaphors, poetic lines! N.P. Sakulina once drew attention to this.
L. S. Vygotsky, speaking about the role of training, emphasized: training leads to development. At the same time, he drew attention: “Training can provide more in development than what is contained in its immediate results. Applied to one point in the sphere of a child’s thought, it modifies and rearranges many other points. It can have remote, rather than only immediate consequences."
It is precisely this long-term result that we can talk about when it comes to the formation of figurative ideas in children in the process of learning visual arts. The statement is not accidental. Proof of this is the work of E. A. Bugrimenko, A. L. Venger, K. N. Polivanova, E. Yu. Sutkova, the topic of which is preparing children for school, diagnosing mental development and its correction. The authors note: “The insufficient level of development of figurative ideas is one of the common causes of difficulties in learning not only at the age of six, but also much later (up to high school). At the same time, the period of their most intensive formation occurs in preschool and the beginning of primary school age Therefore, if a child entering school has problems, then they must be “compensated” as soon as possible with visual and constructive activity- in your free time, encourage the practice of drawing, modeling, appliqué, and design."
When characterizing a child’s thinking, psychologists usually distinguish stages: visual-effective, visual-figurative, logical. Visual-figurative is based on visual representations and their transformation as a means of solving a mental problem. It is known that entering a new stage of thinking does not mean overcoming the previous stage. It is preserved in the child, helps in the development of thinking at a new stage, and forms the basis for the formation of various activities and abilities. Moreover, experts believe that this form of thinking is necessary not only for children’s creativity, but also for the creativity of a person of any profession. That is why it is so important to develop imaginative thinking, as well as imagination, a positive emotional attitude, mastery of image methods, expressive means of drawing, sculpting, and appliqué.
Magazine "Preschool Education" No. 2, 2005
(Komarova T.S.)
Moscow. Pedagogy, 1984.
INTRODUCTION
CHAPTER I. DEVELOPMENT OF THEORY AND PRACTICE OF TEACHING VISUAL ACTIVITIES IN CLASSES IN KINDERGARTEN
CHAPTER III. TRAINING AND CREATIVITY IN ARTISTIC ACTIVITIES OF PRESCHOOL CHILDREN
INTRODUCTION
Great importance is attached to the aesthetic education of the younger generation as part of the comprehensive harmonious development of the individual in our country. This was stated in the documents of the XXVI Congress of the CPSU, the Constitution of the USSR, resolutions of the CPSU Central Committee and the Council of Ministers on the school.
At the June (1983) Plenum of the CPSU Central Committee, Yu. V. Andropov emphasized that aesthetic education allows “for life to acquire a sense of beauty, the ability to understand and appreciate works of art, and to become involved in artistic creativity.”
The main tasks of aesthetic education are to introduce children to art (music, visual arts, literature) and to artistic and creative activities: visual, musical, literary and artistic. In our country, aesthetic education begins in preschool age.
This book is devoted to the consideration of ways of developing children's visual creativity in the learning process in drawing, modeling and appliqué classes in kindergarten.
Interest in the visual activities of children, due to its importance for the comprehensive development of the child’s personality, does not weaken over the years, but increases more and more. In this regard, an international organization has been created under UNESCO (the International Society for Education through Art), which systematically organizes conferences on various issues of children's visual activities and organizes exhibitions of children's creativity. All this is not done by chance. Aesthetic education in general, children’s visual activities in particular are of great importance for the formation of a child’s personality.
That is why a fierce ideological struggle is flaring up around children’s creativity. Depending on how the issue of guiding children’s visual creativity is resolved, on the role of an adult, a teacher in the development of children’s visual activity, depending on what is determined by the source of the image (the surrounding life or feelings, the child’s relationships ), we can talk about an ideological position in the field of aesthetic education of children.
The book reveals the position of Soviet scientists and some representatives of foreign pedagogy (G. V. Beda, E. I. Ignatiev, V. S. Kuzin, G. V. Labunskaya, E. E. Rozhkova, N. N. Rostovtsev, N. P. Sakulina (USSR), R. Müller (GDR), L. Tadd (USA), S. Tada (Japan), etc.), recognizing the need to teach visual arts as an important condition for the development of children's visual creativity, a critical assessment of the views of representatives bourgeois pedagogy, denying the need for training, explaining this by the fact that training supposedly fetters, dries up creativity, interferes with its development, since children as a result of training acquire cliches (V. Lonfeld, W. Lambert, etc.).
Therefore, today the struggle of progressive teachers of the 20-30s, highlighted in the book, is of great interest. with the petty-bourgeois views of adherents of free education. And it is especially important to remember the principled party position on the issue of the role of visual arts in the comprehensive harmonious development of a child, and the need to teach fine arts in kindergarten and school.
The book is based on many years of research into the relationship between learning and creativity. In our study, for the first time, an important component of the abilities for visual activity was identified and studied, its performing side - manual skill. The concept of “manual skill” has been defined, including drawing techniques, form-building movements and the ability to regulate drawing movements in strength, amplitude and speed; experimentally studied the ways and stages of the formation of manual skills in children brought up in different age groups oh kindergarten; The individual characteristics of children in mastering manual skills were identified.
Developing the problem of developing manual skills allowed us to determine the theoretical foundations of the system of teaching visual arts and create a system of knowledge on drawing, modeling and appliqué that would allow us to teach children to independently create a variety of images and develop their artistic creativity. The book reveals the didactic foundations of the lesson system. Questions about the connection between learning and creativity in the visual activities of preschool children are specially considered.
Experimental studies have convincingly proven that by mastering in the learning process the methods of observing, examining and examining objects and phenomena, identifying the basic properties of objects (shapes, proportions, colors, etc.), children acquire the ability to independently accumulate sensory experience and experience knowledge of the surrounding life. The individual differences of children analyzed in the book, which are manifested in mastering the methods of depiction, in the ability to think about the content of their drawing, modeling and embodying their plans, do not level out as they learn, but become brighter, appear more fully and interestingly. The originality of ideas and the variety of means of expression used by children are increasing.
The book reveals in detail the importance of visual activity for the comprehensive development of a child. Drawing, modeling, and applique classes develop aesthetic perception, ideas, and aesthetic feelings. Sensory experience accumulates, speech is enriched. Children develop mental processes: comparison, analysis, synthesis, generalization. The importance of visual arts classes in kindergarten is emphasized for the formation of collective forms of work, the ability to work together, act in concert, together, and provide assistance to comrades. The ability to rejoice in the successes of each student and the achievements of the entire group is developing. All this creates the basis for further education of genuine collectivism, mutual exactingness and comradely mutual assistance.
Experimental research and testing of the developed lesson system was carried out in kindergartens in Moscow and Riga. Since 1978, the mass implementation of the system of visual arts classes we developed for all age groups of kindergarten began in preschool institutions of the Georgian SSR, Moldavian SSR, Latvian SSR, RSFSR and other republics. The author expresses gratitude to the teachers and heads of these institutions, who for many years provided the necessary assistance in the research and implementation of its results.
In this paragraph, it was important for us to highlight the essence of the concept of children's visual creativity and consider its features. An important way to humanize the pedagogical process, creating an emotionally favorable environment for each child and ensuring 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 at the present stage.
Vetlugina N.A. believes that by discovering something new for himself, a child reveals something new about himself to adults. Therefore, the attitude towards children's creativity should be pedagogical. When assessing children's creativity, the emphasis is not on the result, but on the process of activity.
Flerina E.A., called children's creativity a “seed”, and the grain contains everything that appears in a mature plant, you just need to grow it
Kravtsova E.E., considers creativity in close connection with the development of a child’s personality
Komarova T.S., in her research on 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 signs and characteristics that define it, some of which have already been quite convincingly revealed by theory.” These general natural points 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 transformative role of a conscious social subject (class, people, society) in its interaction with objective reality ".
Also Komarova T.S. cites the example of researcher A.A. Volkova, who in turn characterizes the creativity of preschool children as: a versatile and complex impact on the child. The creative activity of adults involves the mind (knowledge, thinking, imagination), character (courage, perseverance), feeling (love of beauty, fascination with an image, thought). These same aspects of personality must be cultivated in a child in order to more successfully develop creativity in him. Enriching a child’s mind with various ideas and some knowledge means providing abundant food for children’s creativity. Teaching them to look closely and be observant means making their ideas clearer and more complete. This will help children more vividly reproduce in their creativity what they have seen.”
Komarova T.S. draws attention to the scientist I.Ya. Lerner, he points out that: creativity can be taught, but this teaching is special, it is not the same as knowledge and skills that are usually taught.
1. Independent transfer of previously acquired knowledge to a new situation;
2. Vision of a new function of an object (object)
3. Vision of the problem in a standard situation;
4. Vision of the structure of the object;
5. Ability to make alternative solutions;
6. Combining previously known methods of activity with new ones.
Kazakova T.G., in her research on the development of children's visual creativity, considers the scientist N.N. Poddyakov, 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 children's creativity is deeply personal in nature and is determined by the uniqueness of the individual, accumulated experience and activity; therefore, its development requires careful consideration of the individual characteristics of the child. The author identified two genetic sources of creativity in preschool children. The first is practical activity aimed at transforming objects and phenomena with the aim of knowing and mastering them. The second is a game, during which imagination and fantasy are developed, favorable conditions are created for the free expression of interests and needs. N.N. Podyakov also 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 fully developed and that this requires the development of new content and new methods of education and training.
How do famous domestic scientists define children's creativity? How is its significance determined for the formation of a child’s personality? Researcher of children's creativity E.A. Flerina evaluates it as a child's conscious reflection of the surrounding reality in drawing, which is built on the work of imagination, on displaying his observations, as well as impressions received either through words, pictures and other forms of art. The child does not passively copy the environment, but processes it in connection with accumulated experience and attitude towards what is depicted.”
Understanding children's creativity as knowledge of life, she makes an attempt to find the reasons for children's unique depiction of the phenomena of surrounding reality, and outlines two ways:
· through familiarizing children with the material;
· through their creation of an image in the drawing.
Let's consider the ways of forming creativity according to N.A. Vetlugina. They are very unique and lack the usual structure that is characteristic of the learning process. It can be assumed that the emergence of creativity in children's artistic practice is gradual. At the first stage, the role of the teacher is to organize those life observations that influence children's creativity. If a child is to reflect life’s impressions in a fairy tale and drawing, then he must be taught, first of all, an imaginative vision of the environment.
The second stage is the actual process of children's creativity, which is directly related to the emergence of a plan and the search for means of implementation.
At 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 creativity formation depends on:
· From the process of emergence and formation of the form of children's activity (enrichment with life impressions);
· From the ways of developing a creative image in children (the idea is the search for a means of implementation);
From the sequence of changing relationships between an adult and children (showing the creative process - partial participation in it - independent play of children). There are stages in the creative process in a child’s activity, but the relationship between these stages is different than in an adult. In the process of visual activity, the child experiences a variety of feelings: he is happy about the beautiful image that he created himself, he is 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, remember their characteristic features and details, master visual skills and abilities, and learn to use them consciously. Children’s mastery of various image options and techniques during the learning process will contribute to their creative development.
Kudryavtsev V., Sinelnikov V., highlight the universal characteristics of children's creativity as: realism of imagination and the ability to see the whole before the parts, the supra-situational-transformative nature of creative solutions, children's experimentation.
By realism of imagination and the ability to see the whole before the parts it is meant that the realism of imagination and the ability to see are connected with each other and are considered in a single key. There is a widespread view of imagination as inventing something that does not actually happen, as neglecting reality, flying away from it. And the further this “departure” is, the more creative in its originality the images of the imagination are considered.
Children are credited with the gift of seeing what adults do not notice, right down to the invisible rays generated by the energy of the senses. In order to comprehend the real meaning of an object, a child must imagine it, look at it from an unusual and paradoxical point of view. The child’s imagination repeats the path of entry into human culture. Through imagination, he masters the meaning of those objects that make up 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 the mental development of a child, imagination is not a separate mental process, but a universal property of consciousness, the universal root of all its basic spiritual manifestations.
With the help of imagination, a person identifies those properties that, although hidden, are specific to a given object and most clearly reflect its general, holistic nature; imagination and creativity - involuntary “absorption” into the object, without destroying its integrity; on the contrary, it is its completion in accordance with the characteristics of the object.
The next universal characteristic of creativity, which is highlighted 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 presence 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 creatively and morally developed, who has solved a problem that is significant to himself, will never choose from a set of ready-made, externally imposed alternatives that have developed independently of him. But when choosing, he either gives preference to any of those alternatives in the formation of which he himself took part, or adds something new to them. An experiment with a story about gnomes showed that children do not always use the “freedom of choice” given to them by adults from ready-made alternatives. They often follow the path of resistance, pushing the initial boundaries of the tasks that the adult world sets before us. An 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 is a special way of spiritual and practical mastery of reality, aimed at creating conditions in which objects most clearly reveal their hidden essence in ordinary situations. Experimentation is the leading functional mechanism of a child’s creativity. A distinction is usually made between a real experiment and a thought experiment. In preschoolers, both of these forms of experimentation are fused with each other. Only somewhere towards the end of preschool childhood does the relative separation of thought experiments into an independent type of activity occur. Through experimentation, the child transfers and incorporates the properties of familiar objects into the context of new situations, and also reveals possible transformations of these properties in this context.
In the process of developing his experimental activities, a preschooler is able to focus not only on the externally empirical properties of objects, but also on their figuratively represented 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 adult takes on the task. The child can actively intervene to input changing conditions. As a result of the peculiarities of “experimental behavior,” objects receive their sensory generalization in the images of a child’s imagination.
Komarova T.S., says that the specificity of children's creativity is that a child cannot create an objectively new thing for a number of reasons (lack of certain experience, limited necessary knowledge and skills). And, nevertheless, children's artistic creativity has objective and subjective meaning in the process of perceiving the depicted objects and when embodying them in images. At the same time, in the process of mastering an activity, subject-subjective relationships are realized. This happens with the development of its motives, especially social ones, socially oriented 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 relationships arise between the child and adults, children among themselves regarding activities (when performing collective works; during the participation of all children in their analysis and assessment, etc.). In other words, the process of a child mastering activity is the process of development of the child as a subject of activity in the system of social relations. At the same time, all areas of the child’s personality develop.
Thus, on the part of teachers, we understand creativity as an activity that results in the creation of a new, original product that has social significance.
A special place is occupied by the visual creativity of a child, which is somewhat different from the visual creativity of an adult.
This type of children's creativity is the most effective means for developing a child's creative abilities. In the process of visual activity, the child experiences a variety of feelings: he rejoices at the beautiful image created by himself; gets upset if something doesn'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, remember their characteristic features and details, master visual skills and abilities, and learn to use them consciously. Moreover, the creativity of a preschooler in art classes is inextricably linked with the work of imagination, cognitive and practical activities. Children’s mastery of various image options and techniques during the learning process will contribute to their creative development.
Particular attention should be paid to the mental properties and personality qualities that 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 specific area (only for music or only for visual). The general processes are: imagination, perception, imaginative 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 and expresses his attitude towards them. Attitudes have both an 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 its wealth. K.D. also spoke about the poverty of children’s imagination and at the same time about its brightness, its great influence on the “frail soul of a child.” Ushinsky. L.S. Vygotsky also noted that images of the imagination are built from elements taken from human experience.
A child’s experience is small, which means a child’s imagination is poorer than an adult’s. At the same time, L.S. Vygotsky noted and explained the brightness, freshness, emotional richness of children’s imagination 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 scientist’s research has proven that thanks to these forms of communication, the imagination makes a full circle: from the accumulation and processing of impressions about reality to the stage of gestation and design of products of imagination, to the embodiment of products of imagination into real ones, which 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 humanity. Vygotsky L.S. says that the products of imagination are realized into concrete things, the results of children's creativity, which again influence the child's imagination. Imagination is the main driving force of a person’s creative process 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 about the world around them.
One of the most important conditions for the development of children's visual creativity is the emergence of visual activity itself in a preschool child.
According to G.G. Grigorieva, the main conditions for the development of children's visual creativity are:
A broad approach to solving the problem. Play and artistic activities provide great opportunities for the child. The adult interacting with the child must create all the conditions so that the child can conduct a search, research activities, solve issues in your own way. An adult should not rush to give the child answers to the questions posed. The teacher must make the natural process of children’s lives and activities creative, put children in situations of not only artistic, but also cognitive, moral creativity.
Organization of an interesting, meaningful life for a child in a preschool institution and family; enriching it with vivid impressions, providing emotional and intellectual experience, which will serve as the basis for the emergence of ideas and will be the material necessary for the work of the imagination.
A unified position of teachers in understanding the prospects for a child’s development and the interaction between them.
Learning as a process of transfer and active appropriation of visual activity by a child organized by an adult. That is, the scope of learning includes the formation of the ability to respond emotionally to the world around us, the need to express the worldview in artistic form, the need for creativity and the desire to do work for other people. During the learning process, knowledge and methods of action are formed, and abilities are developed that allow the child to realize any idea.
In the context of developmental education, the formulation of creative tasks that do not have a clear solution is important. It is very important that the creative tasks presented to adults are perceived by the child. Motivation for a task and not just motivation, but the proposal of effective motives, leading children, if not to independently set, then to accept the task set by adults important condition creative activity child in class.
The atmosphere of creativity. That is, adults stimulating such a state in children, when their feelings and 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 meaning...” in this state, the child feels free, relaxed, courageous, and comfortable. This is possible if an atmosphere of trusting communication, cooperation, empathy, faith in the child’s strengths, and support reigns in the classroom or in independent artistic activity. in case of failure. Creating an atmosphere of creativity largely depends on the general culture of the teacher and understanding of the essence of the matter.
Complex and systematic use of methods and techniques, the leading ones among which are preliminary observations, the creation of problem situations that fulfill the task, and the lack of ready means to resolve them, which stimulates search activity. Playful moments enhance children's creativity. Teplov B.M. noted that there cannot be a 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.
Taking into account the individual characteristics of the child. It is important to take into account the child’s temperament, character, characteristics of certain mental processes, and the mood of the child on the day when creative work is to be done.”
An analysis of the provisions of domestic scientists on children's creativity made it possible to derive a definition of children's creativity. Artistic creativity of preschool children is the creation by a child of a significant, primarily for him, subjectively new product (drawing, modeling, story). By creativity we will understand both the process of creating images and the search for ways to solve a problem.
Thus, we have come to the conclusion that at the present stage of development of psychological and pedagogical research, creativity is understood as a social phenomenon, the essence of which lies in the creation of new cultural or material values 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 certain product of creative activity or the activity itself.
Fine creativity fully develops in the preschool period. The child not only has a desire to act with visual materials, but also to obtain a certain result, to express his emotions and feelings in activities.
Yana Kapkaikina
Project “Development of children's visual creativity in children of middle preschool age”
PROJECT
Subject project: « Development of children's visual creativity in children of middle preschool age».
Relevance:
The relevance of the topic is dictated by the requirements of society for the personality of a child. Many abilities and feelings that nature gives us, unfortunately, remain insufficient developed and undeveloped, and therefore not realized in the future life. Availability developed imagination in adulthood determines the success of any type of professional activity of a person. That's why creation- one of the main tasks preschool education. This set the theme project: « Development of children's visual creativity in children of primary preschool age».
Fine art is the process of creating a drawing, sculpture, appliqué, etc.
Children's art– this is a child’s reflection of the surrounding reality in a drawing, modeling or appliqué. Drawing is a natural need of a child, and even an adult. During a boring meeting, or during a long telephone conversation, your hand involuntarily begins to draw lines. Ancient images - lines, handprints, drawings of animals made by humans, date back to the Paleolithic era. played a big role fine arts in upbringing and education children in Russia back in the 18th century, although it then had a class character.
Great value fine arts has for psychologists. Products creativity were used to study behavior at the dawn of modern psychological science. Fine art used by art therapists to relieve tension, combat fears, stressful conditions, depression, distorted self-esteem, and somatic diseases. “Art itself has a healing effect” (E. Kramer).
In preparation children to schooling, most parents pay special attention to developing reading and numeracy skills, while creative development, remains in the background. It is difficult to overestimate the importance of drawing, modeling and other types of fine arts for the comprehensive development of the child. In any field of human activity, people with developed creative thinking, the most prestigious positions are required "creative" workers with unconventional skills, creatively solve the assigned tasks. Hence the most important of the tasks of pedagogy - the formation creative personality. The most effective way to solve this problem is through creative arts.
Target project:
Development of fine arts skills and range expansion creative manifestations of middle group children.
Tasks:
1. visual activity
- Develop interest in visual arts. Evoke a positive emotional response to the offer to draw, sculpt, cut and paste.
Continue develop aesthetic perception, imagination, aesthetic feelings, artistic Creative skills, the ability to examine and examine objects, including using the hands to form figurative ideas.
- Develop independence, activity, creation.
Enrich views children about art(illustrations for works children's literature, reproductions of paintings, etc.) as the basis for development children's creativity. Continue to develop the ability to create collective works in drawing, modeling, and appliqué.
Let down children to the evaluation of works created by comrades. Learn to be friendly when evaluating the work of others children. Learn to highlight means of expression.
Drawing
Continue to form children the ability to draw individual objects and create plot compositions, repeating image the same items (trees on our site in winter) and adding others to them (sun, falling snow, etc.).
Form and consolidate an idea of the shape of objects (round, oval, square, rectangular, triangular, size, location of their parts.
Help children locate Images on the entire sheet in accordance with the content of the action and the objects included in the action. Direct attention children to transfer the ratio of items according to size: the tree is tall and the bush is lower, the flowers are lower than the bush.
Continue to consolidate and enrich ideas children about the colors and shades of surrounding objects and natural objects. Add new colors and shades to already known ones (brown, orange, light green); form an idea of how these colors can be obtained. Learn to mix paints and get the desired colors and shades.
- Develop the desire to use a variety of colors in drawing and appliqué, to pay attention to the multicolored world around us. By the end of the year, develop the ability to obtain brighter and lighter shades by adjusting the pressure on the pencil (with weak pressure on the pencil, a light tone is obtained, and with stronger pressure, a darker or more saturated tone is obtained).
Strengthen the ability to correctly hold a pencil, brush, felt-tip pen, colored chalk, and use them when creating Images.
Learn children paint over drawings with a brush or pencil, drawing lines and strokes in only one direction (top to bottom or left to right); rhythmically apply strokes and strokes throughout the entire form, without going beyond the contour; draw wide lines with the whole brush, and narrow lines and dots with the end of the brush bristles. Reinforce the ability to cleanly rinse your brush before using a different color of paint. To develop the ability to correctly convey the location of parts when
drawing complex objects (doll, bunny, etc.) and compare them by size.
Continue develop an interest in modeling; improve the ability to sculpt from clay (from plasticine, plastic mass). Reinforce the modeling techniques mastered in previous groups; teach pinching with light pulling of all edges of a flattened ball, pulling out individual parts from a whole piece, pinching small parts (bird's beak). Be able to smooth the surface of a sculpted object or figurine with your fingers.
Teach techniques for pressing the middle of a ball or cylinder to obtain a hollow shape. Introduce using stacks. Encourage the desire to decorate sculpted products with a pattern using stacks.
Reinforce the techniques of careful sculpting.
Application
Cultivate interest in the application, complicating its content and expanding the possibilities of creating a variety of images.
Develop the ability to hold and use scissors correctly
them. Teach cutting, starting with the formation of cutting skills
in a straight line, first short and then long stripes. Learn to compose
from stripes images of various objects(fence, bench, ladder, tree, bush, etc.). Learn children cut round shapes from a square and
oval from a rectangle by rounding the corners. Use
this technique is for vegetable applique images, fruits, berries, flowers, etc.
Continue to expand the number depicted in the application of objects (birds, animals, flowers, insects, houses, both real and imaginary) from ready-made forms. Learn children transform these shapes by cutting them into two or four parts (circle - into semicircles, quarters; square - into triangles, etc.).
Strengthen the skills of neat cutting and pasting.
Methodological support project:
1. Education and training program in kindergarten/Ed.. M. A. Vasilyeva, V. V. Gerbova, T. S. Komarova. - 3rd ed., Spanish. and additional - M.: Mozaika-Sintez, 2005. - 208 p.
2. Expanded forward planning according to the program edited by M. A. Vasilyeva, V. V. Gerbova, T. S. Komarova. Middle group / auto. -composition N. A. Atarshchikova (and etc.). – Volgograd: Teacher, 2011. 99 p.
3. Komarova T. S. Classes on visual activities in middle group kindergarten. Lesson notes. - M.: Mosaika-Sintez, 2009. – 96 pp., color. on
4. Application classes in kindergarten, / A. N. Malysheva, Z. M. Povarchenkova. – Yaroslavl: Academy development, 2010. – 160 pp.: ill. – ( Kindergarten: day after day. To help teachers and parents).
5. Simple crafts from plasticine / Ekaterina Rumyantseva. - 2nd ed. – M.: Iris-press, 2009. – 144 p.: ill. – (Attention: children).
Logistics and technical support project.
1. Plasticine, clay, modeling board, stack (for each child).
2. Colored paper, gold and silver, a large sheet of white or tinted paper, scissors, glue, glue brush, napkin, oilcloth (for each child).
3. Gouache paints (felt pens, wax crayons, white or any pale paper, brushes, jars of water, napkins (for each child).
Implementation of training project(Table 1).
Table 1.
Long-term plan for working with children
Topic of the week Replenishment developing subject-spatial environment groups Aesthetic observations and inspections of objects
the surrounding world Cooperative activity(play, perception of works of art, constructive, fine art) Unregulated directly-educational activities Interaction with families of pupils
Trees Reproductions:
Illustrations of various trees, presentation on topic: "Trees and Shrubs". Consideration:
Blooming buds, flowering trees and shrubs. Conversation:
“On the benefits of trees for humans”
Reading fiction literature:
O. Driz "The Boy and the Tree", E. Mashkovskaya "Grandfather Tree", S. Kozlov "Such a tree".
"Run to the named tree".
“Find a leaf like on a tree”, "Find out whose sheet".
Modeling:
"Rowan Brush".
Application:
"In the Mysterious Forest".
Drawing:
"Fairytale Tree". Exhibition of books about trees and shrubs.
Reproductions:
Bouquet of flowers, paintings by artists topic: "Flowers", the picture is a still life. Consideration: - spring flowers.
Observations:
Behind the flight of dandelion seeds;
Behind the seedlings in the garden (flower bed) after the rain. Conversation:
"Meadow and wildflowers".
Learning poems, guessing riddles.
Reading fiction literature:
S. Vangeli. "Snowdrops".
"In the flower meadow", "Girlfriend Butterflies".
"Find the error", "Be careful",
“Call it affectionately”, “Select, name, remember.”
Modeling:
"The Flower of the Seven Flowers".
Application:
"Cutting and pasting a beautiful flower".
Drawing:
"Flowers for Chamomile". Offer to do it with your children project"Flower City".
Houseplants
Reproductions:
Poster: "What grows on the windowsill". pictures from image indoor plants , presentation “room friends are our friends”.
Observations:
Behind the flowering plants.
Planting flower seeds. Conversation:
“What are houseplants for?”
Reading fiction literature:
E. Blagina "Flower-light".
"Find yourself a mate", "Get to know the plant".
“Guess what kind of plant”, "Third wheel (plant)». Modeling:
"Cactus".
Application:
"Magic Garden".
Drawing:
"Beautiful flowers bloomed". Consultation on parenting issues. Collaboration children and parents: folder moving "Houseplants".
Insects Reproductions:
Cut-out pictures, insect figures, object pictures with image of insects.
Observations:
- for insects: bees, May beetles, butterflies, dragonflies. Conversation:
"Who lives where".
Guessing riddles (about a butterfly, dragonfly, ladybug, mosquito).
Reading fiction literature:
V. Bianchi “Like an ant hurried home”
"Dragonfly Song", "Snail", "Butterflies, Frogs and Herons".
"Render a guess, we'll guess it", “It happens - it doesn’t happen”. Modeling:
"Caterpillar".
Application:
"Ladybug".
Drawing:
"Butterfly". Exhibition children's drawings, subject: "Butterflies"
