Determine the development of creative abilities. Development of creative abilities is the most important task of primary education

Ekaterina Valentinova
Concepts of creativity and creativity. Basic conditions for the development of creative abilities of preschool children

There are many different definitions concepts of creativity. For example, according to the American scientist P. Hill, “ creation is a successful flight of thought beyond the unknown. It adds to the knowledge contributing to the creation of things that were not previously known. Polish researcher A. Matejko believes that the essence creative process is to reorganize the existing experience and form on it based on new combinations. The Big Encyclopedic Dictionary gives such a general definition creativity: « Creativity is an activity, generating something qualitatively new and distinguished by originality, originality and socio-historical uniqueness. Creation human-specific, since it always presupposes creator - subject(manufacturer, carrier) creative activity».

It can obviously be said that creativity is the solution of creative problems. Wherein creative we define the problem as follows. This is a situation that arises in any kind of activity or in everyday life, which is perceived by a person as a problem that requires the search for new solutions for its solution. (objectively or subjectively, i.e. unknown to this person) methods and techniques, the creation of some new principle of action, technology. Creative the task is always the result of some kind of contradiction, a discrepancy between the real and the required, the desired.

For it is necessary to know not only the structure of these creativity but also the child himself.

Under creative By activity, we understand such human activity as a result of which something new is created - whether it is an object of the external world or a construction of thinking that leads to new knowledge about the world, or a feeling that reflects a new attitude to reality.

If we carefully consider the behavior of a person, his activity in any area, we will see two main types of actions. Some human actions can be called reproducing or reproductive. This type of activity is closely related to our memory and its essence lies in the fact that a person reproduces or repeats previously created and developed methods of behavior and actions.

In addition to reproductive activity, human behavior contains creative activity, the product of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions. V Creativity is at the core of this type..

In this way, Creative skills are individual qualities and human ability which are manifested in the ability to apply knowledge, skills and abilities in conditions non-standard situation.

Problem Analysis development of creative abilities will largely predetermine the content that we will invest in this concept. Very often in ordinary consciousness creativity is identified with the ability to various types of artistic activity, with the ability to draw beautifully, compose poetry, write music, etc. So what is real creativity?

There are many definitions abilities. So, B. M. Teplov believed that capabilities- these are individually - psychological characteristics that distinguish one person from another and are related to the success of the implementation of any activity or many activities. K. S. Platonov believed that capabilities cannot be viewed outside of the individual. Under abilities he understood such"part of the personality structure, which, being actualized in a particular type of activity, determines the quality of the latter." According to L. G. Kovalev, under abilities one should understand the ensemble of properties of the human personality, which provides relative ease, high quality of mastering a certain activity and its implementation. According to the definition of N. S. Leites, capabilities- these are personality traits on which the possibility of implementation and the degree of success of the activity depends. Capabilities- these are the psychological qualities that are necessary for the performance of an activity and are manifested in it. (L. A. Wenger).

A person's abilities can develop spontaneous and organized. In the first case we are talking about a free, natural, consciously uncontrolled and unmanaged process ability development. Of course development in this case occurs as a person accumulates life experience. True, this process cannot be called completely uncontrolled, since adults, to one degree or another, consciously control this process in a child. Organized process ability development associated with conscious actions aimed specifically at development of relevant abilities.

What are the optimal conditions for the development of abilities?

One of the most important factors creative development of children is to create conditions, contributing to the formation of their creative abilities. On the basis analysis of the works of several authors, in particular J. Smith, B. N. Nikitin, and L. Carroll, we have identified six the main conditions for the successful development of children's creative abilities.

The first step to success is early physical baby development: early swimming, gymnastics, early crawling and walking. Then early reading, counting, early exposure to various tools and materials.

The second important a condition for the development of creative abilities child is to create an environment that is ahead of child development. It is necessary, as far as possible, to surround the child in advance with such an environment and such a system of relations that would stimulate his most diverse creative activity and would develop in it exactly that that at the appropriate moment able most effectively develop. For example, long before learning to read, a one-year-old child can buy blocks with letters, hang the alphabet on the wall and call the letters to the child during games. This promotes early reading acquisition.

Third, extremely important condition for the effective development of creative abilities comes from the very nature creative process which requires maximum effort. The fact is that the ability to develop more successfully the more often in his activity a person gets "up to the ceiling" its capabilities and gradually raises this ceiling higher and higher. Such condition maximum exertion of forces is most easily achieved when the child is already crawling, but is not yet able to speak. The process of knowing the world at this time is very intensive, but the baby cannot use the experience of adults, since nothing can be explained to such a small one. Therefore, during this period, the baby is forced more than ever to engage in creativity, solve many completely new tasks for him on his own and without prior training (if, of course, adults allow him to do this, they solve them for him). The child rolled far under the sofa ball. Parents should not rush to get him this toy from under the sofa if the child can solve this problem himself.

The fourth is to give the child great freedom in choosing activities, in alternating tasks, in the duration of doing one thing, in choosing ways, etc.. e. Then the desire of the child, his interest, emotional upsurge will serve as a reliable guarantee that even more stress of the mind will not lead to overwork, and will benefit the child.

But giving a child such freedom does not exclude, but, on the contrary, implies unobtrusive, intelligent, benevolent help from adults - this is the fifth condition for the successful development of creative abilities. The most important thing here is not to turn freedom into permissiveness, but help into a hint. Unfortunately, the tip is common among parents. way"help" children, but it only harms the cause. You can't do anything for a child if he can do it himself. You can't think for him when he can think of it himself.

It has long been known that for creativity you need a comfortable psychological environment and the availability of free time, so the sixth condition for the successful development of creative abilities- a warm, friendly atmosphere in the family and the children's team. Adults must create a safe psychological base for the return of the child from creative search and discoveries. It is important to constantly encourage the child to creativity show sympathy for his failures, be patient even with strange ideas unusual in real life. It is necessary to exclude remarks and condemnations from everyday life.

But the creation of favorable conditions not enough to raise a child with high creativity, although some Western psychologists still believe that creation inherent in the child and that it is only necessary not to prevent him from expressing himself freely. But practice shows that such non-intervention few: not all children can open the way to creation, and save for a long time creative activity. It turns out (and pedagogical practice proves this, if you choose the appropriate teaching methods, then even preschoolers without losing originality creativity, create works of a higher level than their untrained self-expressive peers. It is no coincidence that children's circles and studios, music schools and art schools are so popular now. Of course, there is still a lot of debate about what and how to teach. children but the fact that it is necessary to teach is beyond doubt.

Thus, it can be concluded that the availability of data conditions leads to the most complete assimilation of the necessary knowledge, skills, abilities, favors the successful implementation of certain activities and, in accordance with this, effective development of creative abilities. It is also undeniable that the most important condition is the presence of the necessary inclinations in a person. In accordance with the presence of certain inclinations, a plan is built development of human abilities.

The work was added to the site site: 2013-10-27

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Table of contents:
Introduction. 3
Chapter 1. The problem of creativity and creative abilities in modern pedagogy and psychology 5
1.1 Concepts of creativity and creativity. 5
1.2 Components of creativity. 6
1.3 The problem of optimal timing for the development of creative abilities. eight
Chapter 2 school age. 10
2.1 Conditions for the successful development of creative abilities. 10
2.2 Development of the qualities of creative thinking. 12
2.3 Development of creative imagination. thirteen
Conclusion. twenty
Annex 1. 22
Appendix 2. 26
Appendix 3. 27
Appendix 4. 28
Annex 5. 30
Bibliography. 31

Vconducting

Creativity is not a new subject of study. The problem of human abilities has aroused great interest of people at all times. However, in the past, society did not have a special need to master the creativity of people. Talents appeared as if by themselves, spontaneously created masterpieces of literature and art: they made scientific discoveries, invented, thereby satisfying the needs of a developing human culture. In our time, the situation has changed radically. Life in an era scientific and technological progress is becoming more and more complex. And it requires from a person not stereotyped, habitual actions, but mobility, flexibility of thinking, quick orientation and adaptation to new conditions, a creative approach to solving large and small problems. If we take into account the fact that the share of mental labor in almost all professions is constantly growing, and an increasing part of the performing activity is shifted to machines, then it becomes obvious that the creative abilities of a person should be recognized as the most essential part of his intellect and the task of their development is one of the most important tasks. in the education of modern man. After all, all the cultural values ​​accumulated by mankind are the result of the creative activity of people. And how far human society will advance in the future will be determined by the creative potential of the younger generation.
The object of study of this course work is the pedagogical process, namely the process of development of creative abilities in preschool age. The purpose of this study is to study the problem of developing the creative abilities of preschoolers, namely those aspects of it, the knowledge of which is necessary for practical activities in this direction of kindergarten teachers and parents. In the course of our work, we set ourselves the following tasks:
- Identification of the main components of creative abilities based on the analysis of literature.
- Determination of conditions favorable for the development of children's creative abilities.
- Determination of the main directions and pedagogical tasks for the development of creative abilities in preschool age.
- Determining the effectiveness of traditional methods of preschool education in relation to the development of children's creative abilities.
- Identification of the effectiveness of forms, methods and clamps for the development of creative abilities based on the analysis and generalization of advanced pedagogical experience.
In this course work, we applied the following methods of scientific and pedagogical research.
1. Study, analysis and generalization literary sources on this topic.
2. Diagnostics of the creative abilities of children.
3. The study and generalization of pedagogical experience in the development of children's creative abilities.
The course work consists of two chapters. The first chapter deals with the problem of the components of human creativity, and based on the analysis of different points of view on this problem, an attempt is made to determine the universal creative abilities of a person. This chapter also addresses the question of the optimal timing for the start of the development of children's creative abilities.
The second chapter is devoted to the problems of effective development of creative abilities. It examines the conditions necessary for the successful development of creative abilities, defines the main directions and pedagogical tasks for the development of the creative potential of preschoolers. The second chapter also analyzes the results of diagnosing the creative abilities of preschoolers, and proposes a set of measures aimed at optimizing the development of these abilities in preschool institutions.

Chapter 1. The problem of creativity and creative abilities in modern pedagogy and psychology

1.1 The concepts of creativity and creativity

The analysis of the problem of the development of creative abilities will largely be determined by the content that we will invest in this concept. Very often, in everyday consciousness, creative abilities are identified with abilities for various types of artistic activity, with the ability to draw beautifully, compose poetry, write music, etc. What is creativity really?
Obviously, the concept we are considering is closely related to the concept of "creativity", "creative activity". By creative activity, we mean such human activity, as a result of which something new is created - whether it is an object of the external world or a structure of thinking that leads to new knowledge about the world, or a feeling that reflects a new attitude to reality.
If we carefully consider the behavior of a person, his activity in any area, then we can distinguish two main types of actions. Some human actions can be called reproducing or reproductive. This type of activity is closely related to our memory and its essence lies in the fact that a person reproduces or repeats previously created and developed methods of behavior and actions.
In addition to reproductive activity, there is creative activity in human behavior, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions. Creativity is at the core of this activity.
Thus, in its most general form, the definition of creative abilities is as follows. Creativity is individual characteristics qualities of a person that determine the success of his performance of creative activities of various kinds.
Since the element of creativity can be present in any kind of human activity, it is fair to speak not only about artistic creativity, but also about technical creativity, mathematical creativity, and so on.
This course work will consider the problem of developing universal creative abilities that are necessary for the successful implementation of any type of creative activity, regardless of whether it is scientific, artistic, technical, etc.

1.2 Components of creativity

Creativity is an amalgamation of many qualities. And the question of the components of human creativity is still open, although at the moment there are several hypotheses concerning this problem. Many psychologists associate the ability to creative activity, primarily with the peculiarities of thinking. In particular, the well-known American psychologist Guilford, who dealt with the problems of human intelligence, found that creative individuals are characterized by the so-called divergent thinking. People with this type of thinking, when solving a problem, do not concentrate all their efforts on finding the only correct solution, but begin to look for solutions in all possible directions in order to consider as many options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or form links between two elements that at first glance have nothing in common. The divergent way of thinking underlies creative thinking, which is characterized by the following main features:
1. Speed ​​- the ability to express the maximum number of ideas (in this case, it is not their quality that matters, but their quantity).
2. Flexibility - the ability to express a wide variety of ideas.
3. Originality - the ability to generate new non-standard ideas (this can manifest itself in answers, decisions that do not coincide with generally accepted ones).
4. Completeness - the ability to improve your "product" or give it a finished look.
Well-known domestic researchers of the problem of creativity A.N. Bow, based on the biographies of prominent scientists, inventors, artists and musicians, highlights the following creative abilities.
1. The ability to see the problem where others do not see it.
2. The ability to collapse mental operations, replacing several concepts with one and using symbols that are more and more capacious in terms of information.
3. The ability to apply the skills acquired in solving one problem to solving another.
4. The ability to perceive reality as a whole, without splitting it into parts.
5. The ability to easily associate distant concepts.
6. The ability of memory to give out the right information at the right moment.
7. Flexibility of thinking.
8. The ability to choose one of the alternatives for solving a problem before it is tested.
9. The ability to incorporate newly perceived information into existing knowledge systems.
10. The ability to see things as they are, to distinguish what is observed from what is brought in by interpretation.
11. Ease of generating ideas.
12. Creative imagination.
13. The ability to refine the details, to improve the original idea.
Candidates of Psychological Sciences V.T. Kudryavtsev and V. Sinelnikov, based on a wide historical and cultural material (the history of philosophy, social sciences, art, individual areas of practice), identified the following universal creative abilities that have developed in the process of human history.
1. Relism of the imagination is a figurative grasp of some essential, general trend or regularity in the development of a cedant object, before a person has a clear idea about it and can enter it into a system of strict logical categories.
2. The ability to see the whole before the parts.
3. Supra-situational - transformative nature of creative solutions - the ability to solve a problem not just choose from alternatives imposed from the outside, but independently create an alternative.
4. Experimentation - the ability to consciously and purposefully create conditions in which objects most clearly reveal their essence hidden in ordinary situations, as well as the ability to trace and analyze the features of the "behavior" of objects in these conditions.
Scientists and teachers involved in the development of programs and methods of creative education based on TRIZ (theory of inventive problem solving) and ARIZ (algorithm for solving inventive problems) believe that one of the components of a person's creative potential is the following abilities.
1. The ability to take risks.
2. divergent thinking.
3. Flexibility in thought and action.
4. Speed ​​of thinking.
5. The ability to express original ideas and invent new ones.
6. Rich imagination.
7. Perception of the ambiguity of things and phenomena.
8. High aesthetic values.
9. Developed intuition.
Analyzing the points of view presented above on the issue of the components of creative abilities, we can conclude that despite the difference in approaches to their definition, researchers unanimously single out creative imagination and the quality of creative thinking as essential components of creative abilities.
Based on this, it is possible to determine the main directions in the development of children's creative abilities:
1. Development of the imagination.
2. Development of the qualities of thinking that form creativity.

1.3 The problem of optimal timing for the development of creative abilities.

Speaking about the formation of abilities, it is necessary to dwell on the question of when, from what age children's creative abilities should be developed. Psychologists call various terms from one and a half to five years. There is also a hypothesis that it is necessary to develop creative abilities from a very early age. This hypothesis finds confirmation in physiology.
The fact is that the child's brain grows especially rapidly and "ripens" in the first years of life. This is ripening, i.e. the growth in the number of brain cells and the anatomical connections between them depends both on the diversity and intensity of the work of existing structures, and on how much the formation of new ones is stimulated by the environment. This period of "ripening" is the time of the highest sensitivity and plasticity to external conditions, the time of the highest and broadest possibilities for development. This is the most favorable period for the beginning of the development of the whole variety of human abilities. But the child begins to develop only those abilities for the development of which there are incentives and conditions for the "moment" of this maturation. The more favorable the conditions, the closer they are to optimal ones, the more successfully development begins. If maturation and the beginning of functioning (development) coincide in time, go synchronously, and the conditions are favorable, then development proceeds easily - with the highest possible acceleration. Development can reach its greatest height, and the child can become capable, talented and brilliant.
However, the possibilities for the development of abilities, having reached a maximum at the "moment" of maturation, do not remain unchanged. If these opportunities are not used, that is, the corresponding abilities do not develop, do not function, if the child does not engage in the necessary activities, then these opportunities begin to be lost, degrade, and the faster, the weaker the functioning. This fading of opportunities for development is an irreversible process. Boris Pavlovich Nikitin, who has been dealing with the problem of developing the creative abilities of children for many years, called this phenomenon NUVERS (Irreversible Extinction of Opportunities for Effective Development of Abilities). Nikitin believes that NUVERS has a particularly negative effect on the development of creative abilities. The gap in time between the moment of maturation of the structures necessary for the formation of creative abilities and the beginning of the purposeful development of these abilities leads to a serious difficulty in their development, slows down its pace and leads to a decrease in the final level of development of creative abilities. According to Nikitin, it was the irreversibility of the process of degradation of developmental opportunities that gave rise to the opinion about the innateness of creative abilities, since usually no one suspects that opportunities for the effective development of creative abilities were missed at preschool age. And the small number of people with high creative potential in society is explained by the fact that in childhood only a very few found themselves in conditions conducive to the development of their creative abilities.
From a psychological point of view, preschool childhood is a favorable period for the development of creative abilities, because at this age children are extremely inquisitive, they have a great desire to learn about the world around them. And parents, encouraging curiosity, informing children of knowledge, involving them in various activities, contribute to the expansion of children's experience. And the accumulation of experience and knowledge is a necessary prerequisite for future creative activity. In addition, the thinking of preschoolers is more free than that of older children. It is not yet crushed by dogmas and stereotypes, it is more independent. And this quality needs to be developed in every possible way. Preschool childhood is also a sensitive period for the development of creative imagination. From the above, it can be concluded that preschool age, provides excellent opportunities for the development of creative abilities. And the creative potential of an adult will largely depend on how these opportunities were used.

Chapter 2. Development of creative abilities in preschool age.

2.1 Conditions for the successful development of creative abilities.

One of the most important factors in the creative development of children is the creation of conditions conducive to the formation of their creative abilities. Based on the analysis of the works of several authors, in particular J. Smith, B.N. Nikitin and L. Carroll, we identified six basic conditions for the successful development of children's creative abilities.
The first step to the successful development of creative abilities is the early physical development of the baby: early swimming, gymnastics, early crawling and walking. Then early reading, counting, early exposure to various tools and materials.
The second important condition for the development of a child's creative abilities is the creation of an environment that is ahead of the development of children. It is necessary, as far as possible, to surround the child in advance with such an environment and such a system of relations that would stimulate his most diverse creative activity and would gradually develop in him precisely that which at the appropriate moment is capable of developing most effectively. For example, long before learning to read, a one-year-old child can buy blocks with letters, hang the alphabet on the wall and call the letters to the child during games. This promotes early reading acquisition.
The third, extremely important, condition for the effective development of creative abilities follows from the very nature of the creative process, which requires maximum effort. The fact is that the ability to develop the more successfully, the more often in his activity a person gets "to the ceiling" of his capabilities and gradually raises this ceiling higher and higher. This condition of maximum exertion of forces is most easily achieved when the child is already crawling, but is not yet able to speak. The process of knowing the world at this time is very intensive, but the baby cannot use the experience of adults, since nothing can be explained to such a small one. Therefore, during this period, the child is forced more than ever to be creative, to solve many completely new tasks for him on his own and without prior training (if, of course, adults allow him to do this, they solve them for him). The child rolled far under the sofa ball. Parents should not rush to get him this toy from under the sofa if the child can solve this problem himself.
The fourth condition for the successful development of creative abilities is to provide the child with great freedom in choosing activities, in alternating tasks, in the duration of doing one thing, in choosing methods, etc. Then the desire of the child, his interest, emotional upsurge will serve as a reliable guarantee that even more stress of the mind will not lead to overwork, and will benefit the child.
But giving a child such freedom does not exclude, but, on the contrary, implies unobtrusive, intelligent, benevolent help from adults - this is the fifth condition for the successful development of creative abilities. The most important thing here is not to turn freedom into permissiveness, but help into a hint. Unfortunately, hinting is a common way for parents to "help" children, but it only hurts the cause. You can't do anything for a child if he can do it himself. You can't think for him when he can think of it himself.
It has long been known that creativity requires a comfortable psychological environment and the availability of free time, so the sixth condition for the successful development of creative abilities is a warm, friendly atmosphere in the family and the children's team. Adults must create a safe psychological base for the child to return from creative search and his own discoveries. It is important to constantly stimulate the child to be creative, to show sympathy for his failures, to be patient even with strange ideas that are unusual in real life. It is necessary to exclude comments and condemnations from everyday life.
But the creation of favorable conditions is not enough to raise a child with a high creative potential, although some Western psychologists still believe that creativity is inherent in the child and that it is only necessary not to prevent him from expressing himself freely. But practice shows that such non-intervention is not enough: not all children can open the way to creation and maintain creative activity for a long time. It turns out (and pedagogical practice proves this), if you choose the appropriate teaching methods, then even preschoolers, without losing the originality of creativity, create works of a higher level than their untrained self-expressing peers. It is no coincidence that children's circles and studios, music schools and art schools are so popular now. Of course, there is still a lot of debate about what and how to teach children, but the fact that it is necessary to teach is beyond doubt.
The upbringing of the creative abilities of children will be effective only if it is a purposeful process, during which a number of particular pedagogical tasks are solved, aimed at achieving the ultimate goal. And in this course work, we, on the basis of studying the literature on this topic, tried to determine the main directions and pedagogical tasks for the development of such important components of creative abilities as creative thinking and imagination in preschool age.

2.2 Development of the qualities of creative thinking.

The main pedagogical task for the development of creative thinking in preschool age is the formation of associativity, dialectics and systemic thinking. Since the development of these qualities makes thinking flexible, original and productive.
Associativity is the ability to see the connection and similarities in objects and phenomena that are not comparable at first glance.
Thanks to the development of associativity, thinking becomes flexible and original.
In addition, a large number of associative links allows you to quickly retrieve the necessary information from memory. Associativity is very easily acquired by preschoolers in a role-playing game. There are also special games that contribute to the development of this quality.
Often, discoveries are born when seemingly incompatible things are connected. For example, for a long time it seemed impossible to fly on aircraft that are heavier than air. To formulate contradictions and find a way to resolve them allows dialectical thinking.
Dialecticity is the ability to see contradictions in any systems that hinder their development, the ability to eliminate these contradictions, to solve problems.
Dialecticity is a necessary quality of talented thinking. Psychologists have conducted a number of studies and found that the mechanism of dialectical thinking functions in folk and scientific creativity. In particular, the analysis of Vygodsky's works showed that the outstanding Russian psychologist constantly used this mechanism in his research.
The pedagogical tasks for the formation of dialectical thinking in preschool age are:
1. Development of the ability to identify contradictions in any subject and phenomenon;
2. Development of the ability to clearly articulate the identified contradictions;
3. Formation of the ability to resolve contradictions;
And another quality that forms creative thinking is consistency.
Consistency is the ability to see an object or phenomenon as an integral system, to perceive any object, any problem comprehensively, in all the variety of connections; the ability to see the unity of interconnections in the phenomena and laws of development.
Systems thinking allows you to see a huge number of properties of objects, to capture relationships at the level of system parts and relationships with other systems. Systems thinking learns patterns in the development of the system from the past to the present and applies this in relation to the future.
Systematic thinking is developed by correct analysis of systems and special exercises. Pedagogical tasks for the development of systematic thinking in preschool age:
1. Formation of the ability to consider any object or phenomenon as a system developing in time;
2. Development of the ability to determine the functions of objects, taking into account the fact that any object is multifunctional.

2.3 Development of creative imagination.

The second direction in the formation of creative abilities of preschoolers is the development of imagination.
Imagination is the ability to construct in the mind from the elements of life experience (impressions, ideas, knowledge, experiences) through their new combinations to relationships something new that goes beyond the previously perceived.
Imagination is the basis of all creative activity. It helps a person to free himself from the inertia of thinking, it transforms the representation of memory, thereby ensuring, in the final analysis, the creation of a deliberately new one. In this sense, everything that surrounds us and that is made by human hands, the whole world of culture, in contrast to the world of nature - all this is a product of creative imagination.
Preschool childhood is a sensitive period for the development of the imagination. At first glance, the need to develop the imagination of preschoolers may seem reasonable. After all, it is widely believed that the imagination of a child is richer, more original than the imagination of an adult. Such an idea of ​​the vivid imagination inherent in a preschooler existed in the past among psychologists as well.
However, already in the 1930s, the outstanding Russian psychologist L. S. Vygotsky proved that the child's imagination develops gradually, as he acquires certain experience. S. Vygotsky argued that all images of the imagination, no matter how bizarre they may be, are based on the ideas and impressions that we receive in real life. He wrote: "The first form of connection between imagination and reality is that any creation of the imagination is always built from elements taken from the activity and contained in the previous experience of man."
From this it follows that the creative activity of the imagination is directly dependent on the richness and diversity of a person's previous experience. The pedagogical conclusion that can be drawn from all of the above is the need to expand the experience of the child if we want to create a sufficiently strong foundation for his creative activity. The more the child has seen, heard and experienced, the more he knows and learned, the more elements of reality he has in his experience, the more significant and productive, other things being equal, the activity of his imagination will be. It is with the accumulation of experience that all imagination begins. But how to convey this experience to the child in advance? It often happens that parents talk with a child, tell him something, and then complain that, as they say, it flew into one ear and flew out of the other. This happens if the baby has no interest in what they are told about, no interest in knowledge in general, that is, when there are no cognitive interests.
In general, the cognitive interests of a preschooler begin to declare themselves very early. This manifests itself first in the form of children's questions, with which the baby besieges parents from 3-4 years old. However, whether such a child's curiosity becomes a stable cognitive interest or whether it disappears forever depends on the adults around the child, primarily on his parents. Adults should in every possible way encourage the curiosity of children, educating love and the need for knowledge.
At preschool age, the development of the cognitive interests of the child should go in two main directions:
1. Gradually enriching the child's experience, saturating this experience with new knowledge about various areas of reality. This causes the cognitive activity of the preschooler. The more aspects of the surrounding reality are revealed to children, the wider the opportunities for the emergence and consolidation of stable cognitive interests in them.
2. Gradual expansion and deepening of cognitive interests within the same sphere of reality.
In order to successfully develop the cognitive interests of the child, parents must know what their child is interested in, and only then influence the formation of his interests. It should be noted that for the emergence of sustainable interests, it is not enough just to acquaint the child with a new sphere of reality. He should have a positive emotional attitude to the new. This is facilitated by the inclusion of a preschooler in joint activities with adults. An adult can ask a child to help him do something or, say, listen to his favorite record with him. The feeling of belonging to the world of adults that arises in a child in such situations creates a positive coloring of his activity and contributes to the emergence of his interest in this activity. But in these situations, the child's own creative activity should also be awakened, only then can the desired result be achieved in the development of his cognitive interests and in the assimilation of new knowledge. You need to ask your child questions that encourage active thinking.
The accumulation of knowledge and experience is only a prerequisite for the development of creative imagination. Any knowledge can be a useless burden if a person does not know how to handle it, select what is needed, which leads to a creative solution to the problem. And this requires the practice of such decisions, the ability to use the accumulated information in their activities.
Productive creative imagination is characterized not only by such features as originality and richness of produced images. One of the most important properties of such an imagination is the ability to direct ideas in the right direction, to subordinate them to certain goals. The inability to manage ideas, to subordinate them to one's goal, leads to the fact that the best plans and intentions perish without finding embodiment. Therefore, the most important line in the development of the preschooler's imagination is the development of the orientation of the imagination.
In a younger preschooler, the imagination follows the subject, and everything that he creates is fragmentary, unfinished. Adults should help the child learn not just to fantasize fragmentarily, but to realize their ideas, to create small, but complete works. To this end, parents can organize a role-playing game and, during this game, influence the child's performance of the entire chain of game actions. You can also arrange a collective composition of a fairy tale: each of the players says several sentences, and an adult participating in the game can direct the development of the plot, help the children complete their plans. It is good to have a special folder or album where the most successful drawings, fairy tales composed by a child would be placed. This form of fixation of creative products will help the child to direct his imagination to the creation of complete and original works.
In order to determine the level of development of the creative abilities of children at preschool age, on December 10 and December 15, 2002, we carried out their diagnostics in preschoolers of the “Solnyshko” kindergarten in the SWAD of Moscow. For the study, we used express methods of candidates of psychological sciences V. Kudryavtsev and V. Sinelnikov (see Appendix 1). With the help of these methods, we have compiled an operational ascertaining microsection of the creative development of each child for all its reasons. The criterion for highlighting the grounds is the universal creative abilities singled out by the authors: the realism of the imagination, the ability to see the whole before the parts, the supra-situational-transformative nature of creative solutions, children's experimentation. Each of the methods allows you to record the significant manifestations of these abilities and the real levels of their formation in the child.
Having carried out diagnostics, we received the following results (see Appendix 2). The development of realism of imagination in 61.5% of children is at a low level, and in 38.5% of children - on average. The development of such an ability as the supra-situational-transformative nature of creative solutions is at a low level for 54% of children, at an average level for 8%, and at a high level for 38% of children. in 30% of children it is developed at an average level and in 70% of children at a high level. Analyzing the obtained results, we can draw the following conclusions and suggestions.
Children in this group have a poorly developed creative imagination. It should immediately be said that this group is engaged in the developmental program "Rainbow", but there is no special work on the development of imagination with children. However, psychologists and educators involved in the analysis of preschool education programs have long been saying that they do not actually contain special measures aimed at the consistent and systematic development of children's imagination. Under these conditions, it develops basically only spontaneously and as a result often does not even reach the average level of its development. This was confirmed by our diagnostics. From all of the above, it follows that in the current conditions in kindergartens it is necessary to carry out special work aimed at developing the creative imagination of children, especially since preschool age is a sensitive period for the development of this process. What form can this work take?
Of course, the best option is the introduction of a special program of classes for the development of children's imagination. Recently, a large number of methodological developments of such classes have appeared. In particular, in our country, the Public Laboratory of Invention Methods developed a special course "Development of Creative Imagination" (RTI). It is based on TRIZ, ARIZ and G.S. Altshuller. This course has already been tested in various creative studios, schools and preschool institutions, where it has proven its effectiveness. RTV develops not only creative imagination, but also creative thinking of children. In addition, we can offer a methodology for the development of children's imagination O.M. Dyachenko nor N.E. Verakses, as well as special game trainings of the imagination, developed by the psychologist E.V. stutterer.
If it is not possible to introduce additional classes, then the educator can be offered, on the basis of the program according to which he works, without drastic changes in the form of classes, to use TRIZ elements to develop the creative potential of children. Also, in special classes in music, drawing, design, speech development, children should be given tasks of a creative nature.
It is possible to develop creative imagination not only in special classes. Of great importance for the development of children's imagination is the game, which is the main activity of preschoolers. It is in the game that the child takes the first steps of creative activity. Adults should not just observe children's play, but manage its development, enrich it by including creative elements in the game. At an early stage, children's games are of an objective nature, that is, this is an action with various objects. At this stage, it is very important to teach the child to beat the same object in different ways. For example, a cube can be a table, a chair, a piece of meat, etc. Adults should show children the possibility of different ways to use the same items. At the age of 4-5, a role-playing game begins to take shape, which provides the widest opportunities for the development of imagination and creativity. Adults need to know how and what their children play, how varied the plots of the games they play. And if children play the same "daughters - mothers" or war every day, the teacher should help them learn to diversify the plots of the games. You can play with them, offering to play different stories, take on different roles. The child must first show his creative initiative in the game, plan and direct the game.
In addition, to develop imagination and creativity, there are special games that can be played with children in their free time. Interesting educational games developed by B.N. Nikitin, O.M. Dyachenko and N.E. Veraksa.
The richest source of development of the child's fantasy is a fairy tale. There are many fairy tale techniques that educators can use to develop children's imagination. Among them: "distorting" a fairy tale, inventing a fairy tale in reverse, inventing a continuation of a fairy tale, changing the end of a fairy tale. You can write stories with your children. Speaking about the development of children's imagination with the help of a fairy tale, one cannot but recall the wonderful book by J. Rodari "Grammar of Fantasy".
The diagnostic results also show that many children need to develop such a creative ability as the supra-situational-transformative nature of creative decisions. To develop this ability, children need to put various problem situations, solving which, they must not only choose the optimal one from the proposed alternatives, but create their own alternative based on the transformation of the original means. Adults should in every possible way encourage the creative approach of children to solving any problem. The development of the ability under consideration is closely connected with the formation of dialectic thinking. Therefore, games and exercises for the formation of dialectical thinking can be used to develop the ability to be analyzed. Some exercises for the development of dialectical thinking are given in Appendix 4.
The results of diagnosing the creative potential of children revealed a good development of the ability to see the whole before the parts. And this result is natural, because One of the features of children's worldview is its integrity, the child always sees the whole before the parts. However, very soon children lose this ability, because the traditional method of preschool education comes into conflict with this objective law of knowledge. Since when studying an object or phenomenon, the educator is instructed to first draw the attention of children to its individual external features and only then reveal its holistic image. However, forcing the analytical trend in the cognitive development of preschoolers can lead to a significant decrease in their creative abilities. There is evidence that fears and other negative experiences in affective children are directly related to their inability to see the whole before the parts, i.e. to capture in individual events the meaning given by the context of the whole situation. Hence the need for the development of systematic thinking in preschoolers. This quality is developed by the correct analysis of systems and special games, some of which are given in Appendix 5.
Speaking about the problem of children's creative abilities, we would like to emphasize that their effective development is possible only with joint efforts on the part of educators preschool institutions as well as from the family. Unfortunately, teachers complain about the lack of proper support from parents, especially when it comes to the pedagogy of creativity. Therefore, it is advisable to hold special conversations and lectures for parents, which would talk about why it is so important to develop creative abilities from childhood, what conditions must be created in the family for their successful development, what techniques and games can be used to develop creative abilities in the family, as well as parents would be recommended special literature on this issue.
We believe that the measures proposed above will contribute to a more effective development of creative abilities in preschool age.

Zconclusion

Universal creative abilities are the individual characteristics, qualities of a person that determine the success of his performance of various creative activities. At the heart of human creative abilities are the processes of thinking and imagination. Therefore, the main directions for the development of creative abilities in preschool age are:
1. The development of a productive creative imagination, which is characterized by such qualities as the richness of the produced images and direction.
2. Development of the qualities of thinking that form creativity; such qualities are associativity, dialectics and systemic thinking.
Preschool age has the richest opportunities for the development of creative abilities. Unfortunately, these opportunities are irreversibly lost over time, so it is necessary to use them as effectively as possible in preschool childhood.
The successful development of creative abilities is possible only if certain conditions are created that are conducive to their formation. These conditions are:
1. Early physical and intellectual development of children.
2. Creating an environment that is ahead of the development of the child.
3. The child's independent solution of tasks that require maximum effort, when the child reaches the "ceiling" of his abilities.
4. Giving the child freedom in choosing activities, alternating cases, the duration of one thing, etc.
5. Smart, friendly help (and not a hint) from adults.
6. Comfortable psychological environment, encouragement by adults of the child's desire for creativity.
But creating favorable conditions is not enough to raise a child with highly developed creative abilities. Purposeful work is needed to develop the creative potential of children. Unfortunately, the traditionally existing system of preschool education in our country contains almost no measures aimed at the consistent systematic development of the creative abilities of children. Therefore, they (abilities) develop mostly spontaneously and as a result, do not reach a high level of development. This was also confirmed by the results of diagnosing the creative abilities of four-five-year-old preschoolers at the kindergarten "Solnyshko" of the SWAD of Moscow. The lowest results were given by diagnostics of creative imagination. Although preschool age is a sensitive period for the development of this component of creative abilities. To correct the existing situation, the following measures can be proposed aimed at the effective development of the creative abilities of preschoolers:
1. Introduction to the program of preschool education of special classes aimed at developing the creative imagination and thinking of children.
2. In special classes in drawing, music, speech development, give children creative tasks.
3. Management by adults of a children's subject and plot-role-playing game in order to develop the imagination of children in it.
4. The use of special games that develop the creative abilities of children.
5. Working with parents.

Annex 1

Methods for diagnosing universal creative abilities for children 4-5 years old (authors: V. Sinelnikov, V. Kudryavtsev)

1. Method "Sun in the room"
Base. Realization of the imagination.
Target. Identification of the child's ability to transform "unreal" into "real" in the context of a given situation by eliminating the discrepancy.
Material. A picture depicting a room in which there is a little man and the sun; pencil.
Instructions for carrying out.
Psychologist, showing a child a picture: "I give you this picture. Look carefully and say what is drawn on it." By listing the details of the image (table, chair, little man, lamp, sun, etc.), the psychologist gives the following task: "That's right. However, as you can see, here the sun is drawn in the room. Please tell me, can it be so, or is the artist here what "Messed up something? Try to fix the picture so that it is correct."
It is not necessary for the child to use a pencil, he can simply explain what needs to be done to "correct" the picture.
Data processing.
During the examination, the psychologist evaluates the child's attempts to correct the drawing. Data processing is carried out according to a five-point system:
1. Lack of response, non-acceptance of the task ("I don't know how to fix it", "I don't need to fix the picture") - 1 point.
2. "Formal elimination of inconsistency (erase, paint over the sun) -2 points.
3. Substantial elimination of non-compliance:
a) simple answer (Draw in another place - "The sun is on the street") -3 points.
b) a difficult answer (to redo the drawing - "Make a lamp out of the sun") - 4 points.
4. Constructive answer (separate the inappropriate element from others, keeping it in the context of the given situation ("Make a picture", "Draw a window", "Put the sun in a frame", etc.) -5 points.
2. Method "Folding picture"
Reason. The ability to see the whole before the parts.
Target. Determination of the ability to preserve the integral context of the image in a situation of its destruction.
M a t e r i a l. Folding duck cardboard picture with four folds (size 10 * 15 cm)
Instructions for carrying out.
Psychologist, presenting a picture to a child: "Now I will give you this picture. Please look carefully and tell me what is drawn on it?" After listening to the answer, the psychologist folds the picture and asks: "What will happen to the duck if we fold the picture like this?" After the child's answer, the picture straightens out, folds up again, and the child is asked the same question again. In total, five folding options are used - "corner", "bridge", "house", "pipe", "accordion".
Data processing.
During the examination of the child, the psychologist fixes the general meaning of the answers when performing the task. Data processing is carried out according to a three-point system. Each task corresponds to one position when bending the picture. The maximum score for each task is 3 points. In total - 15 points. The following response levels are distinguished:
1. Lack of response, non-acceptance of the task ("I don't know", "Nothing will happen", "It doesn't happen like that") - 1 point.
2. A descriptive answer, listing the details of the drawing that are in or out of view, i.e. loss of image context ("The duck has no head", "The duck is broken", "The duck is divided into parts", etc.) - 2 points.
3. Answers of a combining type: preserving the integrity of the image when the picture is bent, including the drawn character in a new situation (“The duck dived”, “The duck swam behind the boat”), building new compositions (“It was as if they had made a pipe and painted a duck on it”) and etc. - 3 points.
Some children give answers in which the preservation of the integral context of the image is “tied” not to any situation, but to the specific form that the picture takes when folded (“The duck has become a house”, “It has become like a bridge”, etc.) . Such answers belong to the combining type and are also estimated at 3 points.
3. Method "How to save a bunny"
Base. .
Target. Evaluation of ability and transformation of a choice task into a transformation task under the conditions of transferring the properties of a familiar object to a new situation.
M a t e r i a l. Bunny figurine, saucer, bucket, wooden stick. deflated balloon, sheet of paper.
Instructions for carrying out.
A bunny figurine, a saucer, a bucket, a wand, a deflated ball and a sheet of paper are placed on the table in front of the child. Psychologist, picking up a bunny: "Meet this bunny. Once such a story happened to him. The bunny decided to sail on a boat in the sea and sailed far, far from the coast. And then a storm began, huge waves appeared, and the bunny began to sink. Help Only you and I can bunny. We have several objects for this (the psychologist draws the child's attention to the objects laid out on the table). What would you choose to save the bunny?"

Data processing.
During the survey, the nature of the child's answers and their justification are recorded. Data are evaluated on a three-point system.
First level. The child chooses a saucer or bucket, as well as a stick with which you can lift the bunny from the bottom, without going beyond a simple choice; the child tries to use ready-made objects, mechanically transfer their properties to a new situation. Rating - 1 point.
Second level. A decision with an element of simple symbolism, when a child suggests using a stick as a log, on which a bunny can swim to the shore. In this case, the child again does not go beyond the situation of choice. Rating - 2 points.
Third level. To save the bunny, it is proposed to use a deflated balloon or a sheet of paper. For this purpose, you need to inflate a balloon ("A bunny on a balloon can fly away") or make a boat out of a sheet. In children at this level, there is a setting for the transformation of the available subject material. The initial task of choice is independently transformed by them into a task of transformation, which testifies to the child's supra-situational approach to it. Rating - 3 points.

4. Method "Plate"
Base. Children's experimentation.
Target. Evaluation of the ability to experiment with transforming objects.
Material. A wooden plank, which is a hinged connection of four smaller square links (the size of each link is 15 * 15 cm)
Instructions for carrying out.
The plank in expanded form lies in front of the child on the table. Psychologist: "Now let's play with such a board. This is not a simple board, but a magic one: you can bend and unfold it, then it becomes like something. Try it."
As soon as the child folded the board for the first time, the psychologist stops him and asks: "What did you get? What does this board look like now?"
Hearing the child's answer, the psychologist again turns to him: "How else can you fold it? What did it look like? Try again." And so on until the child stops himself.
Data processing.
When processing the data, the number of non-repeating responses of the child is evaluated (naming the shape of the resulting object as a result of folding the board (“garage”, “boat”, etc.), one point for each name. The maximum number of points is initially not limited.

Appendix 2

The results of diagnostics of the universal creative abilities of preschoolers (in points)
d / s "Solnyshko" SWAD Moscow group "Joy"

Surnames of children	realism of the imagination Min 1 point Max 5 points	The ability to see the whole before the parts Min 5 points Max 15 points	Supra-situational-transformative nature of creative solutions Min 1 point Max 3 points	Experimentation
Belyaeva Ludmila	2	15	1	10
Borodai Vladimir	3	10	1	16
Vakulov Pavel	3	10	3	13
Eliseev Sergey	2	12	3	16
Eremina Alexandra	2	15	3	14
Liquid Stanislav	2	10	1	24
Koltsova Evgenia	3	15	1	6
Lapina Julia	1	15	1	10
Makarova Anna	2	13	3	13
Nikitin Alexey	3	15	1	17
Prokopova Xenia	1	14	3	8
Simakova Anastasia	3	15	1	17
Urazova Anna	2	10	2	10

General results of diagnostics of universal creative abilities in the group

Capabilities	Low level	Average level	High level
realism of the imagination	61,5%	38,5%	0%
The ability to see the whole before the parts	0%	30%	70%
Supra-situational-transformative nature of creative solutions	54%	8%	38%

Appendix 3

Games for the development of associativity of thinking
Game "What does it look like"
3-4 people (guessers) go out the door, and the rest of the participants in the game agree on which item will be compared. The guessers come in and the presenter begins: "What I thought is like ..." and gives the floor to the one who first found the comparison and raised his hand: For example, a bow can be associated with a flower, with a butterfly, a helicopter propeller, with the number "8 , which lies on its side. The guesser chooses new guessers and offers the next item for association.
"Surreal Game"(drawing in several hands)
The first participant in the game makes the first sketch, depicts some element of his idea. The second player, starting from the first sketch, makes an element of his image, and so on. to the finished drawing.
"Magic blots"
Before the game, several blots are made: a little ink or ink is poured into the middle of the sheet and the sheet is folded in half. Then the sheet is unfolded and now you can play. Participants take turns talking. What subject images do they see in a blot or its individual parts. Whoever names the most items wins.
Game "Word associations"
Take any word, for example, loaf. It is associated:
- with bakery products.
- with consonant words: baron, bacon.
- with rhyming words: pendant, salon.
Create as many associations as possible according to the proposed scheme.
Associativity of thinking can be developed on the go. Walking with children, you can think together what clouds, puddles on asphalt, pebbles on the shore look like.

INTRODUCTION

Creativity is understood as the activity of creating new and original products of public importance.

The essence of creativity is the prediction of the result, the correct setting of the experiment, in the creation by the effort of thought of a working hypothesis close to reality, in what Sklodowska called the feeling of nature.

The relevance of the topic is due to the fact that many researchers reduce the problem of human abilities to the problem of a creative person: there are no special creative abilities, but there is a person with a certain motivation and traits. Indeed, if intellectual giftedness does not directly affect the creative success of a person, if in the course of the development of creativity the formation of a certain motivation and personality traits precedes creative manifestations, then we can conclude that there is a special type of personality - a “Creative Person”.

Creativity is going beyond the limits of the given (Pasternak's "over the barriers"). This is only a negative definition of creativity, but the first thing that catches your eye is the similarity between the behavior of a creative person and a person with mental disorders. The behavior of both deviates from the stereotypical, generally accepted.

People do a lot of things every day: small and large, simple and complex. And each case is a task, sometimes more, sometimes less difficult.

When solving problems, an act of creativity occurs, a new path is found or something new is created. This is where the special qualities of the mind are required, such as observation, the ability to compare and analyze, find connections and dependencies - all that in the aggregate constitutes creative abilities.

The acceleration of scientific and technological progress will depend on the quantity and quality, creative developed minds, from their ability to ensure the rapid development of science, technology and production, from what is now called the increase in the intellectual potential of the people.

The purpose of this course work is to consider aspects of the development of creative abilities.

Based on the goal, the following tasks can be set:

Characterize creativity as a mental process;

Consider the essence of a creative person and her life path;

To study the development of creative abilities;

Review the basic concepts of creativity.

1. ESSENCE AND SIGNIFICANCE OF THE DEVELOPMENT OF CREATIVE ABILITIES

1.1 Creativity as a mental process

Most philosophers and psychologists distinguish between two main types of behavior: adaptive (associated with the resources available to a person) and creative, defined as “creative destruction”. In the creative process, a person creates a new reality that can be comprehended and used by other people.

Attitudes towards creativity in different eras changed dramatically. In ancient Rome, only the material and the work of the binder were valued in the book, and the author had no rights - neither plagiarism nor forgery was prosecuted. In the Middle Ages and much later, the creator was equated with a craftsman, and if he dared to show creative independence, then it was not encouraged in any way. The creator had to make a living in a different way: Molière was a court upholsterer, and the great Lomonosov was valued for his utilitarian products - court odes and the creation of festive fireworks.

And only in the XIX century. artists, writers, scientists and other representatives of the creative professions were able to live by selling their creative product. As A. S. Pushkin wrote, “inspiration is not for sale, but you can sell a manuscript.” At the same time, the manuscript was valued only as a matrix for replication, for the production of a mass product.

In the XX century. the real value of any creative product was also determined not by its contribution to the treasury of world culture, but by the extent to which it can serve as material for replication (in reproductions, television films, radio broadcasts, etc.). Therefore, there are differences in income, unpleasant for intellectuals, on the one hand, representatives of the performing arts (ballet, musical performance, etc.), as well as businessmen of mass culture, and, on the other hand, creators.

Society, however, at all times divided two spheres of human activity: otium and oficium (negotium), respectively, activity at leisure and socially regulated activity. Moreover, the social significance of these areas has changed over time. In ancient Athens, bios theoretikos - theoretical life - was considered more "prestigious" and acceptable to a free citizen than bios praktikos - practical life.

Interest in creativity, the personality of the creator in the XX century. is connected, perhaps, with the global crisis, the manifestation of the total alienation of man from the world, the feeling that by purposeful activity people do not solve the problem of man's place in the world, but further delay its solution.

The main thing in creativity is not external activity, but internal activity - the act of creating an "ideal", an image of the world, where the problem of alienation of man and environment is resolved. External activity is only an explication of the products of an internal act. The features of the creative process as a mental (mental) act will be the subject of further presentation and analysis.

Highlighting the signs of a creative act, almost all researchers emphasized its unconsciousness, spontaneity, the impossibility of its control by the will and mind, as well as a change in the state of consciousness.

The most common are the "divine" and "demonic" versions of the attribution of the cause of creativity. Moreover, artists and writers accepted these versions depending on their worldview. If Byron believed that a “demon” inhabits a person, then Michelangelo believed that God leads his hand: “A good picture approaches God and merges with him.”

The consequence of this is the tendency observed in many authors to disown authorship. Since it was not I who wrote, but God, the devil, the spirit, the "inner voice", the creator is aware of himself as an instrument of an extraneous force.

It is noteworthy that the version of the impersonal source of the creative act passes through spaces, epochs and cultures. And in our time, it is being revived in the thoughts of the great Joseph Brodsky: “The poet, I repeat, is the means of the existence of language. The writer of a poem, however, does not write it because he counts on posthumous fame, although he often hopes that the poem will outlive him, even if not for long. The writer of a poem writes it because the language tells him or simply dictates the next line.

Starting a poem, the poet, as a rule, does not know how it will end, and sometimes he is very surprised at what happened, because it often turns out better than he expected, often the thought goes further than he expected. This is the moment when the future of the language interferes with the present... A person who writes a poem writes it primarily because versification is a colossal accelerator of consciousness, thinking, world outlook. Having experienced this acceleration once, a person is no longer able to refuse to repeat this experience, he falls into dependence on this process, as he falls into dependence on drugs and alcohol. A person who is in such a dependence on language, I believe, is called a poet.

In this state, there is no feeling of personal initiative and no personal merit is felt when creating a creative product, an alien spirit seems to be instilled in a person, or thoughts, images, feelings are instilled in him from the outside. This experience leads to an unexpected effect: the creator begins to treat his creations with indifference or, moreover, with disgust. There is a so-called post-creative saturation. The author is alienated from his work. When expedient activities are performed, including labor activities, there is an opposite effect, namely, the “invested activity effect”. The more effort a person has spent to achieve the goal, the production of a product, the more emotional significance this product acquires for him.

Since the activity of the unconscious in the creative process is associated with a special state of consciousness, the creative act is sometimes performed in a dream, in a state of intoxication and under anesthesia. In order to reproduce this state by external means, many resorted to artificial stimulation. When R. Rolland wrote Cola Breugnon, he drank wine; Schiller kept his feet in cold water; Byron took laudanum; Rousseau stood in the sun with his head uncovered; Milton and Pushkin liked to write while lying on a sofa or couch. Coffee lovers were Balzac, Bach, Schiller; drug addicts - Edgar Poe, John Lennon and Jim Morrison.

Spontaneity, suddenness, independence of the creative act from external causes - its second main feature. The need for creativity arises even when it is undesirable. At the same time, the author's activity eliminates any possibility of logical thought and the ability to perceive the environment. Many authors take their images for reality. The creative act is accompanied by excitement and nervous tension. All that remains for the mind is processing, giving a finished socially acceptable form to the products of creativity, discarding the superfluous and detailing.

So, the spontaneity of the creative act, the passivity of the will and the altered state of consciousness at the moment of inspiration, the activity of the unconscious, speak of a special relationship between consciousness and the unconscious. Consciousness (conscious subject) is passive and only perceives the creative product. The unconscious (unconscious creative subject) actively generates a creative product and presents it to consciousness.

V domestic psychology the most holistic concept of creativity as a mental process was proposed by Ya. A. Ponomarev (1988). He developed a structural-level model of the central link in the psychological mechanism of creativity. Studying the mental development of children and the solution of problems by adults, Ponomarev came to the conclusion that the results of the experiments give the right to schematically depict the central link of psychological intelligence in the form of two spheres penetrating one into the other. The outer boundaries of these spheres can be represented as abstract limits (asymptotes) of thinking. From below, intuitive thinking will be such a limit (beyond it, the sphere of strictly intuitive thinking of animals extends). From above - logical (behind it the sphere of strictly logical thinking of computers extends).

Rice. 1.1. Scheme of the central link of the psychological mechanism of the creative act according to Ya.A. Ponomarev

The basis for success in solving creative problems is the ability to act "in the mind", determined by a high level of development of the internal plan of action. This ability is perhaps the structural equivalent of the concept of "general ability" or "general intelligence."

Two personal qualities are associated with creativity, namely, the intensity of search motivation and sensitivity to side formations that arise during the thought process.

Ponomarev considers the creative act as included in the context of intellectual activity according to the following scheme: at the initial stage of posing the problem, consciousness is active, then, at the solution stage, the unconscious is active, and consciousness is again involved in selecting and verifying the correctness of the solution (at the third stage). Naturally, if thinking is initially logical, i.e. expedient, then a creative product can appear only as a by-product. But this version of the process is only one of the possible ones.

In general, there are at least three main approaches to the problem of creativity in psychology. They can be formulated as follows:

1. As such, there are no creative abilities. Intellectual giftedness acts as a necessary but not sufficient condition for the creative activity of an individual. The main role in the determination of creative behavior is played by motivation, values, personality traits (A. Tannenbaum, A. Olokh, D. B. Bogoyavlenskaya, A. Maslow, etc.). Among the main features of a creative personality, these researchers include cognitive giftedness, sensitivity to problems, independence in uncertain and difficult situations.

Standing apart is the concept of D. B. Bogoyavlenskaya (1971, 1983), which introduces the concept of "creative activity of the individual", believing that this activity is a certain mental structure inherent in the creative type of personality. Creativity, from the point of view of Bogoyavlenskaya, is a situationally unstimulated activity, manifested in the desire to go beyond the limits of a given problem. A creative personality type is inherent in all innovators, regardless of the type of activity: test pilots, artists, musicians, inventors.

2. Creativity (creativity) is an independent factor, independent of intelligence (J. Gilford, K. Taylor, G. Gruber, Ya. A. Ponomarev). In a softer version, this theory says that there is a slight correlation between the level of intelligence and the level of creativity. The most developed concept is E. P. Torrance's "intellectual threshold theory": if IQ is below 115-120, intelligence and creativity form a single factor, with IQ above 120, creativity becomes an independent value, i.e. there are no creative individuals with low intelligence, but there are intellectuals with low creativity.

3. A high level of intelligence implies high level creativity and vice versa. There is no creative process as a specific form of mental activity. This point of view was shared and shared by almost all experts in the field of intelligence.

There would be a special literature on this problem. We believe that the measures proposed above will contribute to a more effective development of creative abilities in preschool age. CONCLUSION Universal creative abilities are the individual characteristics, qualities of a person that determine the success of his performance of various creative activities. ...

A lot of interrelated tasks focused on cognition, creation, transformation of objects, situations, phenomena in a new quality and aimed at developing the creative abilities of younger students in the educational process. The system of creative tasks includes target, content, activity and result components. Traditional writing tasks in Russian language lessons ...

Ministry of Education and Science of the Republic of Buryatia

State educational institution of secondary vocational education

Buryat Republican Pedagogical College

Department of Pedagogy and Psychology

Specialty - 050709 Teaching in elementary grades

FINAL QUALIFICATION WORK

Development of creative abilities of children of primary school age

Completed by: Sayutinskaya E.E.,

student of group 143 TNF

Scientific adviser:

Ph.D. Bairova G.B.

Ulan-Ude - 2010

INTRODUCTION

CHAPTER 1

1.1. Essence and characteristics of creative abilities

1.2.Features of the development of creative abilities in children of primary school age

Conclusions for chapter 1

CHAPTER 2

1 Types of creative activity

2 Development of creative abilities of children of primary school age in extracurricular activities

3 Study of the creative abilities of children of primary school age

CONCLUSION

BIBLIOGRAPHY

APPS

INTRODUCTION

The current state of society is characterized by increased attention to the inner world and the unique opportunity of each individual person.

One of the directions of the national educational initiative "Our New School" is "the development of a system to support talented children." To implement this direction in the coming years, an extensive system of searching, supporting and accompanying talented children will be built, it is required to develop a system of additional education for the creative development of the individual.

The federal state educational standard of primary general education is designed to ensure the formation of a common culture, the spiritual, moral, social, personal and intellectual development of students, the creation of a basis for the independent implementation of educational activities that ensure social success, the development of the creative abilities of the student's personality.

The main goal of the modern school, as a social institution, is the versatile development of children, including creative development, their cognitive interests, educational and cognitive competence, self-education skills, and the ability for self-realization of the individual.

The child is by nature an explorer. An unquenchable thirst for new experiences, curiosity, a constant desire to observe and experiment, independently seek new information about the world are traditionally considered as characteristics of children's behavior. Creative, search activity of the child is a natural state. He is tuned to the knowledge of the world, he wants to know it. The mental, moral and physical development of the child is initially the basis for the development of the child's creative potential, and serves as the basis for self-knowledge and self-development.

The most effective area for the development of children's creative abilities are lessons, extracurricular activities, the system of additional education, art, and artistic activity.

Today, in pedagogical practice, despite the numerous studies available, there is a contradiction between the purposeful development of creative abilities in young children and the unsystematic organizational and methodological support of this process against the background of huge amount new various techniques and technologies.

To develop abilities means to equip the child with a method of activity, to give him the key, the principle of doing work, to create conditions for the identification and flourishing of his giftedness. The most effective way to develop individual abilities lies through introducing schoolchildren to productive creative activity from the 1st grade.

At the same time, the theoretical and analysis of practical activities showed that within the framework of educational institutions conceptual ideas for the development of the child's creative abilities, the structure of this process, the criteria for its success, its content, technology and pedagogical conditions for effectiveness have insufficient scientific justification and scientific and methodological support, which allowed us to identify the following contradictions between:

developing system of education for children and insufficient development of structural and content-technological components of the educational environment of primary school age for the development of creative abilities

the growing need of society for the development of the creative abilities of the individual and the insufficient possibility of its optimal satisfaction only in the conditions of an educational institution;

numerous types and types of educational institutions and the insufficient development of pedagogical conditions that ensure the success of the development of the creative abilities of a growing person.

The identified contradictions confirm the relevance of the problem and the need for its study.

The importance and relevance of the problem under study served as the basis for determining the topic of our study: "Development of creative abilities of children of primary school age".

Methodological basis of the study:

1.Psychological and pedagogical works on the development of the personality of P.P. Blonsky, L.S. Vygotsky, A.S. Makarenko, S.L. Rubinstein, S.T. Shatsky and others.

2.Studies of the problem of development of creative abilities and creative activity of children A.G. Asmolova, O.M. Dyachenko, Z.A. Galaguzova, A.M. Matyushkin, A.V. Petrovsky.

.The method of diagnosing the creative potential of the individual T.V. Bogdanova, A.N. Lukom, V.P. Parkhomenko.

Purpose of the study:to identify the psychological and pedagogical conditions for the development of children's creative abilities.

Research objectives:

1. To study the state of the problem in pedagogical science and practice.

2. Reveal the essence, main components and features of the development of children's creative abilities based on the analysis of scientific, methodological, psychological and pedagogical literature;

3. To carry out diagnostics of the level of formation of creative abilities of younger students.

The object of our studyis the process of developing the creative abilities of younger students during extracurricular time.

Subject of researchare the pedagogical conditions for the development of creative abilities of younger students.

Research hypothesis:The process of developing the creative abilities of children of primary school age will be more effective if:

- the conditions conducive to the development of their creative abilities have been created at the school;

- a program of work with gifted and talented children was developed and implemented;

- parents are interested in providing assistance in organizing extracurricular activities with schoolchildren;

- selected methods and guidelines for school teachers to develop the creative abilities of children of primary school age.

Experimental research base:students of the 2nd and 3rd grades of the Beloozersk secondary school in the Dzhidinsky district. The experiment involved students of grade 2 in the amount of 8 people (experimental group), grade 3 - 11 people (control group).

Research methods:

theoretical analysis of psychological and pedagogical literature;

questioning;

conversation with school teachers;

observation;

Research novelty:

The pedagogical conditions for the development of creative abilities of younger schoolchildren in extracurricular activities are revealed;

The practical significance of the studyare the developed program and methodological recommendations for school teachers, which can be used in professional activities.

Final qualifying workconsists of two chapters, a list of references and appendices.

CHAPTER 1

1.1 Essence and characteristics of creative abilities

The question of what is creative ability and what is its role in the life of students is of interest to many psychologists and educators of our time.

Abilities are individual psychological characteristics of a person that meet the requirements of this activity and are a condition for its successful implementation.

Creativity is understood as the activity of creating new and original products of public importance.

Abilities are divided into educational and creative, according to the quality, breadth, originality of their combination (structure) and degree of development.

In psychology, first of all, the works of S.L. Rubinstein and B.M. Teplov, an attempt was made to classify the concepts of "ability", "giftedness" and "talent" on a single basis - the success of the activity.

Capabilitiesare considered as individual psychological characteristics that distinguish one person from another, on which the possibility of success of an activity depends, and giftedness- as a qualitatively peculiar combination of abilities (individual psychological characteristics), on which the possibility of success in activity also depends.

Significant difficulties in defining the concepts of ability and giftedness are associated with the generally accepted, everyday understanding of these terms. If we turn to explanatory dictionaries, we will see that very often the terms “capable”, “gifted”, “talented” are used as synonyms or reflect the degree of manifestation of abilities. But it is even more important to emphasize that the concept of "talented" emphasizes the natural data of a person.

So, in the explanatory dictionary of V. Dahl, “capable” is defined as “fit for something or inclined, dexterous, manual, suitable, convenient”. Capable here is actually understood as skillful.

Thus, the concept of "capable" is defined through the ratio of success in activity. People do a lot of things every day: small and large, simple and complex. And each case is a task that is either more or less difficult.

When solving problems, an act of creativity occurs, a new path is found or something new is created. This is where the special qualities of the mind are required, such as observation, the ability to compare, analyze and find connections and dependencies - all that in the aggregate constitutes creative abilities.

The task of education is to identify and develop them in activities that are accessible and interesting to children.

When defining the concept of "talent", its innate nature is emphasized. Talent is defined as a gift for something, and gift as an ability. In other words, talent is innate abilities that ensure high performance.

The dictionary of foreign words also emphasizes that talent (Greek talanton) is an outstanding innate quality, special natural abilities.

Giftedness is considered as a state of talent, as a degree of manifestation of talent.

From the foregoing, we can conclude that abilities, on the one hand, giftedness and talent, on the other, stand out, as it were, according to different grounds. Speaking of ability, they emphasize the ability of a person to do something, speaking of talent (giftedness), the innate nature of this quality (ability) of a person is emphasized. At the same time, both abilities and giftedness are manifested in the success of the activity.

Sometimes abilities are considered innate, "given by nature." but scientific analysis shows that only inclinations can be innate, and abilities are the result of the development of inclinations.

Makings - congenital anatomical and physiological features of the body. These include, first of all, structural features of the brain, sensory organs and movement, properties nervous system with which the body is endowed from birth. The inclinations are only opportunities, and prerequisites for the development of abilities, but do not yet guarantee, do not predetermine the emergence and development of certain abilities.

Arising on the basis of inclinations, abilities develop in the process and under the influence of activities that require certain abilities from a person. Outside of activity, no abilities can develop.

Not a single person, no matter what inclinations he possesses, can become a talented mathematician, musician or artist without doing a lot and persistently in the corresponding activity. To this it must be added that the inclinations are ambiguous. On the basis of the same inclinations, unequal abilities can develop, depending on the nature and requirements of the activity in which a person is engaged, as well as on living conditions and especially education. The inclinations are developing, acquiring new qualities. Therefore, strictly speaking, the anatomical and physiological basis of human abilities is not just inclinations, but the development of inclinations, that is, not just natural features his body (unconditioned reflexes), but also what he acquired in the process of life of the system of conditioned reflexes.

The quality of abilities is determined by the activity, the condition for the successful implementation of which they are. They usually say about a person not just what he is capable of, but what he is capable of, that is, they indicate the quality of his abilities.

By quality, abilities are divided into mathematical, technical, artistic, literary, musical, organizational, sports, etc.

By breadth, general and special abilities are distinguished.

Special abilities are the conditions necessary for the successful performance of any one particular type of activity. These include, for example, ear for music, musical memory and sense of rhythm in a musician, “estimation of proportions” in an artist, pedagogical tact in a teacher, etc.

General abilities are needed to perform various activities. For example, such an ability as observation is needed by an artist, a writer, a doctor, and a teacher; organizational skills, the ability to distribute attention, criticality and depth of mind, good visual memory, creative imagination should be inherent in people of many professions. Therefore, these abilities are called general.

The most general and at the same time the most basic human ability is the analytical-synthetic ability. Thanks to this ability, a person distinguishes between individual objects or phenomena in their complex complex, singles out the main, characteristic, typical, captures the very essence of the phenomenon, combines the highlighted moments in a new complex and creates something new, original. So, for example, a writer, observing various people in different situations, highlights their typical properties, captures the features of the future character in their character, actions and work, and, generalizing these features, creates a typical image. Highlighting, comparing different methods of conducting lessons and the results that are obtained depending on various conditions, the teacher develops the most effective methods learning and teaching skills.

Thus, potentially as many working abilities can be created from the inclinations of a person as there are channels of communication between the environment and a person with his inner world. However, in reality, the number of abilities depends on the organization of the teaching and human activity.

By definition, V.V. Klimenko: “The essence of talent lies in the ability to act, it should not be sought out either in the special virtues of the brain, or in the structure of the body, or in any other abilities. Talent is a person who solves well-known problems in an original way.

Imagination is an intuitive ability to see the essence of parameters, their natural logic. It combines images of what does not yet exist from the materials of memory and feelings, creates an image of the unknown as known, that is, creates its subject content and meaning. Surprise is of great importance in activating the work of the imagination. Surprise, in turn, is caused by:

• the novelty of the perceived “something”;
• awareness of it as something unknown, interesting;

an impulse that sets the quality of imagination and thinking in advance, attracts attention, captures feelings and the whole person as a whole.

Imagination, together with intuition, is able not only to create an image of a future object or thing, but also to find its natural measure, the state of perfect harmony, the logic of its structure. It gives rise to the ability to discover, helps to find new ways of developing technology and technology, ways to solve problems and problems that arise before a person.

The initial forms of imagination first appear at the end of early childhood in connection with the emergence of the role-playing game and the development of the sign-symbolic function of consciousness. The child learns to replace real objects and situations with imaginary ones, to build new images from existing ideas. Further development of the imagination goes in several directions.

Along the line of expanding the circle of replaced items and improving the operation of substitution itself, linking up with the development of logical thinking;

Along the line of improving the operations of the recreating imagination, the child gradually begins to create more and more complex images and their systems based on the available descriptions, texts, fairy tales. The content of these images is developed and enriched. A personal attitude is introduced into the images, they are characterized by brightness, saturation, emotionality;

Creative imagination develops when a child not only understands some expressive techniques, but also applies them independently.

Thus, the most effective way to develop individual abilities lies through introducing schoolchildren to productive creative activity from the 1st grade.

1.2 Features of the development of creative abilities in young children

As already noted, creative abilities are formed and developed in activity. Therefore, for the development of abilities, it is necessary to include a child from an early age in activities accessible to his age. Already at preschool age, children learn to draw, do modeling, learn to sing correctly and recognize melodies, feel their rhythm. A little later, they begin to construct, try to compose stories, simple poems. With admission to school, the possibilities of including the child in one activity or another expand significantly.

Creative abilities are formed and developed in the activity in which they find their application. An inactive child, indifferent to any kind of work, usually does not show ability. However, not every activity that includes a child automatically forms and develops creative abilities for it.

In order for an activity to positively influence the development of abilities, it must satisfy certain conditions:

Firstly, the activity should evoke strong and stable positive emotions and pleasure in younger students. They should experience a feeling of joyful satisfaction from the activity, then they will have the desire to engage in it on their own initiative, without compulsion. A lively interest in the desire to do the job as best as possible is a necessary condition for the activity to positively influence the development of creative abilities.

Secondly, the activities of children should be creative, for example, dramatic abilities should constantly develop in game, role-playing actions.

Thirdly, it is important to organize the activities of children in such a way that they pursue goals that slightly exceed their capabilities, the level of performance they have already achieved. Children with already defined abilities are especially in need of increasingly complex and diverse creative tasks.

The development of the creative abilities of younger students is facilitated by various forms of out-of-class and out-of-school work, in particular circle work: mathematical, technical, biological, literary, musical, artistic, dramatic circles, in which younger students should also be involved.

Among the abilities of the individual, a special kind of ability was singled out - to generate unusual ideas, deviate in thinking from traditional patterns, and quickly resolve problem situations. This ability was called creativity (creativity).

Under the creative (creative) abilities of students is understood "... the complex capabilities of the student in performing activities and actions aimed at creation" .

Creativity covers a certain set of mental and personal qualities that determine the ability to be creative. One of the components of creativity is the ability of the individual.

Problems of creativity have been widely developed in domestic psychology. Currently, researchers are searching for an integral indicator that characterizes a creative person. This indicator can be defined as some combination of factors, or it can be considered as a continuous unity of procedural and personal components of creative thinking (A.V. Brushlinsky).

A great contribution to the development of problems of abilities, creative thinking was made by psychologists B.M. Teplov, S.L. Rubinstein, B.G. Ananiev, N.S. Leites, V.A. Krutetsky, V.A. Kovalev, K.K. Platonov, A.A. Matyushkin, V.D. Shadrikov, Yu.D. Babaeva, V.N. Druzhinin, I.I. Ilyasov, V.I. Panov, I.V. Kalish, M.A. Cold, N.B. Shumakova, V.S. Yurkevich and others.

Let us single out the components of the creative (creative) abilities of younger students:

creative thinking

creative imagination

application of methods of organizing creative activity.

For the development of creative thinking and creative imagination of primary school students, it is necessary to offer the following tasks:

· classify objects, situations, phenomena on various grounds;

· establish causal relationships;

· see interconnections and identify new connections between systems;

· make forward-looking assumptions;

· highlight the opposite features of the object;

· identify and form contradictions;

· to separate conflicting properties of objects in space and time;

· represent spatial objects;

Creative tasks are differentiated according to such parameters as:

· the complexity of the problem situations contained in them;

· the complexity of the mental operations necessary to solve them;

· form of representation of contradictions (explicit, hidden).

In this regard, three levels of complexity of the content of the system of creative tasks are distinguished:

Tasks III (initial) level of complexity given to first and second grade students. A specific object or phenomenon acts as an object at this level. Creative tasks of this level contain a problematic issue or a problematic situation, involve the use of the method of enumeration of options or heuristic methods of creativity and are designed to develop creative intuition and spatial productive imagination.

Tasks of II level of complexity aimed at developing the foundations of systemic thinking, productive imagination, predominantly algorithmic methods of creativity.

The purpose of tasks of this type is to develop the foundations of students' systemic thinking.

In tasks of this level, there is a problematic situation or tasks containing contradictions in an explicit form.

Tasks III (highest, high, advanced) level of complexity. These are open tasks from various fields of knowledge, containing hidden contradictions, offered to students of 3 and 4 years of study and are aimed at developing the foundations of dialectical thinking, controlled imagination, and the conscious application of algorithmic and heuristic methods of creativity.

Thus, the transition to new level The development of creative abilities of younger students occurs in the process of accumulation of creative activity by each student.

Domestic psychologists and teachers (L.I. Aidarova, L.S. Vygotsky, L.V. Zankov, V.V. Davydov, Z.I. Kolmykova, V.A. Krutetsky, D.B. Elkonin and others.) emphasize the importance of educational activity for the formation of creative thinking, cognitive activity, the accumulation of subjective experience of students' creative search activity.

The experience of creative activity, according to researchers, is an independent, structural element of the content of education:

· transfer of previously acquired knowledge to a new situation;

· independent vision of the problem, alternative solutions;

· combining previously learned methods into new and different ones.

The importance of imagination in primary school age is the highest and necessary human ability. However, it is this ability that needs special care in terms of development. And it develops especially intensively at the age of 5 to 15 years. And if this period of imagination is not specially developed, in the future there will be a rapid decrease in the activity of this function. Along with a decrease in a person's ability to fantasize, a person becomes impoverished, the possibilities of creative thinking decrease, interest in art, science, etc. goes out.

Younger students carry out most of their vigorous activity with the help of imagination. Their games are the fruit of the wild work of fantasy, they are enthusiastically engaged in creative activities. The psychological basis of the latter is also creative imagination. Thus, the significance of the function of imagination in mental development is great.

Fantasy, as a form of mental reflection, should have a positive direction of development, contribute to a better knowledge of the world around, self-disclosure and self-improvement of the individual. To accomplish this task, it is necessary to help the child, use their imagination in the direction of progressive self-development, to enhance the cognitive activity of schoolchildren, in particular the development of theoretical, abstract thinking, attention, speech and creativity in general.

According to L.S. Vygotsky, imagination provides the following activities of the child:

building an image, the final result of his activity,

creating a program of behavior in a situation of uncertainty, creating images that replace activities,

creation of images of the described objects.

For the development of the child, the formation of many interests is very important.

It should be noted that the student is generally characterized by a cognitive attitude to the world. Such a curious orientation has an objective expediency. Interest in everything expands the life experience of the child, introduces him to different types of activities, activates his various abilities.

Children, unlike adults, are able to express themselves in artistic activities. They are happy to perform on stage, participate in concerts, competitions, exhibitions and quizzes.

Conclusions for chapter 1

A child of primary school age in the conditions of upbringing and education begins to occupy a new place in the system of social relations accessible to him. This is connected, first of all, with his admission to school, which imposes certain duties on the child, requiring a conscious and responsible attitude towards it, and with his new position in the family, where he also receives new responsibilities.

At primary school age, the child for the first time becomes, both at school and in the family, a member of a real work collective, which is the main condition for the formation of his personality. The consequence of this new position of the child in the family and at school is a change in the nature of the child's activities. Life in a team organized by the school and the teacher leads to the development of complex, social feelings in the child and to the practical mastery of the most important forms and rules of social behavior. The transition to the systematic assimilation of knowledge at school is a fundamental fact that forms the personality of a younger student and gradually restructures his cognitive processes.

The range of creative tasks solved at the initial stage of education is unusually wide in complexity - from solving a puzzle to inventing a new model of a car or another product, but their essence is the same: when they are solved, creativity is revived, a new path is found or something new is created. This is where special qualities of the mind are required, such as observation, the ability to compare and analyze, combine, find connections and dependencies, patterns, etc. All that in the aggregate constitutes creative abilities.

Creative activity, which is more complex in its essence, is available only to a person.

There is a great “formula” that opens the curtain on the secret of the birth of a creative mind: “First, open the truth known to many, then open the truths known to some, and finally open the truths not yet known to anyone.” Apparently, this is the path of the formation of the creative side of the intellect, the path of development of inventive talent. Our duty is to help the child embark on this path.

The school always has a goal: to create conditions for the formation of a personality capable of creativity. Therefore, elementary school should be focused on the development of the creative abilities of the individual.

CHAPTER 2

.1 Types of creative activity of children of primary school age

Creative activity is a specific type of human activity aimed at the knowledge and creative transformation of the surrounding world, including oneself.

There are various types of creative activity:

1.Decorative and applied activity - Fine arts, sewing, knitting, macrame, origami, etc.

2.Artistic and aesthetic activities - music, singing, choreography, theater, etc.

Among the arts and crafts, children love to do the fine arts, in particular drawing. By the nature of what and how the child depicts, one can judge his perception of the surrounding reality, the features of memory, imagination, thinking.

Sewing, knitting, macrame, origami classes play an important role in the development of children's creative abilities. Having studied the basics of knitting, the children themselves combine patterns, creatively approach the implementation of the product. Having cut out the product for themselves, the children select the design for the product, according to the principle of colors. In the process of such classes, children develop logical thinking, creative imagination.

Music occupies an important place in the artistic and creative activity of children. Children enjoy listening to music, repeating musical sequences and sounds on various instruments. At primary school age, an interest in serious music lessons arises, which in the future can develop into a real attraction and contribute to the development of musical talent. Children learn to sing, perform a variety of rhythmic movements to music, in particular dance.

Vocal lessons are also a creative activity. Singing develops musical ear and vocal abilities. To reveal creative abilities, collectively played etudes, musical and dance improvisations are used.

Particular attention is paid to the creative activity of the student himself. The content of creative activity refers to its two forms - external and internal. The external content of education is characterized by the educational environment, the internal content is the property of the individual himself, created on the basis of the student's personal experience as a result of his activity.

When selecting content for a system of creative tasks, two factors are taken into account:

The creative activity of junior schoolchildren is carried out mainly on already solved problems.

creative content options subjects elementary school.

The content of creative activity is represented by groups of tasks aimed at on knowledge, creation, transformation, use in a new quality of objects, situations, phenomena. Each of the selected groups is one of the components of the creative activity of students, has its own purpose, content, offers the use various methods performs certain functions.

Thus, each group of tasks is a necessary condition for the student to accumulate subjective creative experience.

1 group - "Knowledge"

The goal is the accumulation of creative experience of cognition of reality.

Acquired Skills:

To study objects, situations, phenomena based on the selected features: color, shape, size, material, purpose, time, location, part - whole;

Consider in the contradictions that determine their development;

Model phenomena, taking into account their features, system connections, quantitative and qualitative characteristics, patterns of development.

Group 2 - "Creation"

The goal is the accumulation by students of creative experience, the creation of objects of situations, phenomena.

The ability to create original creative products is acquired, which involves:

obtaining a qualitatively new idea of ​​the subject of creative activity;

focus on the ideal end result of the system development;

rediscovery of already existing objects and phenomena with the help of dialectical logic.

3 group - « Transformation"

The goal is the acquisition of creative experience in the transformation of objects, situations, phenomena.

Acquired Skills:

Simulate fantastic (real) changes appearance systems (shape, color, material, arrangement of parts, etc.);

Model changes in the internal structure of systems;

Take into account when changing the properties of the system, resources, the dialectical nature of objects, situations, phenomena.

Group 4 - "Use in a new capacity"

The goal is the accumulation by students of the experience of a creative approach to the use of already existing objects, situations, phenomena.

Acquired Skills:

Consider objects of situations, phenomena, from different points of view;

Find fantastic applications for real-life systems;

Carry out the transfer of functions to various areas of application;

Get a positive effect by using the negative qualities of systems, universalization, obtaining systemic effects.

In order to accumulate creative experience, the student must be aware (reflect) of the process of performing creative tasks.

The organization of students' awareness of their own creative activity involves current and final reflection.

Current reflection is implemented in the process of students completing assignments in a workbook and involves independent fixation of the level of students' achievement (emotional mood, acquisition of new information and practical experience, the degree of personal advancement, taking into account previous experience).

The final reflection involves the periodic performance of thematic examinations.

Both at the current and at the final stage of reflection, the teacher fixes what methods for solving creative tasks students use and draws a conclusion about the progress of students about the level of development of creative thinking and imagination.

By reflexive actions in our work we understood:

Willingness and ability of students to think creatively to overcome problem situations;

Ability to acquire new meaning and values;

Ability to set and solve non-standard tasks in conditions of collective and individual activity;

Ability to adapt in unusual interpersonal systems of relations;

Humanity (determined by a positive transformation aimed at creation);

artistic value(assessed by the degree of use means of expression when presenting an idea)

Subjective assessment (given without justification and evidence, at the level of likes or dislikes). This methodology can be supplemented with an indicator of the level of the method used.

.2 Development of the child's creative abilities in educational and extracurricular activities

Creativity is the generation of new ideas, the desire to learn more, think about things differently and do it better.

The complexity of the problem of developing creative abilities in children is due to a large number factors that determine both the nature and manifestation of creative abilities. Basically these factors can be grouped into three most general groups.

The first group includes natural inclinations and individual characteristics that determine the formation of a creative personality.

The second group includes all forms of influence of the social environment on the development and manifestation of creative abilities.

Third group - it is the dependence of development on the nature and structure of activity.

Creativity presupposes that a person has certain abilities. Creative abilities do not develop spontaneously, but require a special organized process of training and education, revision of the content of curricula, development of a procedural mechanism for the implementation of this content, creation of pedagogical conditions for self-expression in creative activity.

One of the main tasks facing the school is to create optimal conditions for the development of each student in various types of work.

The development of students' creative abilities is the most important task of the modern school. This process permeates all stages of the development of the child's personality, awakens initiative and independence of decisions, the habit of free self-expression, and self-confidence.

Today, many teachers are already aware that the true goal of education is not only the acquisition of certain knowledge and skills, but also the development of imagination, observation, quick wit and the education of a creative person as a whole. As a rule, the lack of creativity often becomes an insurmountable obstacle in high school, where non-standard tasks are required. The main problems of elementary school are focused more on cognitive processes, although it is the younger student who retains the features for the development of imagination and creative abilities to a much greater extent. Creative activity should act as the same object of assimilation as knowledge, skills, and therefore, in school, especially primary school, creativity must be taught.

With the development of needs and interests in creativity, teachers use various forms of educational and extracurricular work, trying to teach the child purposefully, purposefully, repeatedly reinforce the acquired knowledge and skills. At the same time, their lessons are distinguished by a variety of activities, the studied material, and ways of working. This encourages children to be creative.

The development of creativity should be brought into a certain system, where extracurricular activities play no less a role than educational ones.

Extracurricular work to develop the creative abilities of children includes such events as: festivals, competitions, holidays, exhibitions of creative works, games. A large role in this case is played by collective creative activities necessary for the development of the child's personality.

In Beloozersk secondary school No. 1, the program "Gifted children" has been developed and is operating. The identification of gifted children begins in elementary school on the basis of observation, the study of psychological characteristics, speech, memory, logical thinking; their participation in olympiads, competitions, competitions. There is a good practice of holding subject Olympiads, the winners of which participate in district Olympiads, where students of a given school show consistently good results. The teaching staff associates this fact with the introduction of the program "Gifted Children" into the practice of the school, with the use of activities for their creative development in the classroom and extracurricular activities of students. Also, to develop the creative abilities of students, various circle classes are organized, where they have more opportunities to show their initiative.

Teachers and parents of elementary school children have developed a program of circle work "Origami". Origami also stimulates the development of memory, since a child, in order to make a craft, must remember the sequence of its manufacture, techniques and methods of folding, promotes concentration of attention, as it forces one to focus on the manufacturing process in order to obtain the desired result, introduces children to basic geometric concepts (angle , side, square, triangle, etc.).

The effectiveness of circle work lies in the ability of circle leaders to maintain students' interest in their own achievements and successes.

Arousing students' interest in the subject, type of activity, these classes contribute to the development of horizons, creative abilities, and instilling skills of independent work. Here, every student has the opportunity to choose a business to his liking, to identify, pose and resolve problems of interest.

In extracurricular activities in the Russian language and literature, children learn to compose stories, fairy tales by analogy with read works of art, compose proverbs, sayings, riddles, poems, create illustrations. In grades 2 and 3, students are given a creative assignment to write essays for publication in the class magazine Fireflies. In order to get their creative work on the pages of the magazine, students must not only spell correctly write the work, but also be creative in its design. All this stimulates younger students to independent, without pressure from adults, the desire to write poetry, fairy tales.

In extracurricular activities in mathematics, teachers attach great importance to solving creative problems. In organizing the mental activity of schoolchildren in the process of solving cognitive problems, the following stages in the advancement of students can be distinguished: solve the problem by analogy; solve the problem with a partial hint from the teacher; prove the correctness of the decision; solve a non-standard problem; independently compose a creative task; perform diagnostic (test) work.

In extracurricular activities of the surrounding world, natural history, teachers use various forms of work in this direction: excursions into nature, role-playing games, creative tasks, acquaintance with works of art, creation of projects.

At the lessons of arts and crafts, school teachers introduce children to folk art crafts. Schoolchildren develop creative skills and abilities to independently perform a variety of decorative products. Also, these classes contribute to the development of thinking, creative imagination, artistic abilities of schoolchildren, the education of good aesthetic taste, interest and love for folk art, the art of their native land.

Thus, the development of the creative abilities of younger students can take place both in educational and extracurricular activities and involves the following changes in the educational process:

· involvement of students in systematic joint creative activity on the basis of personal-activity interaction, the result of which should be a creative product;

· systematic use of creative methods that ensure the advancement of students in the development of creative abilities by accumulating experience in creative activity while performing gradually more complex creative tasks within the framework of an additional curriculum;

· intermediate and final diagnosis of creative abilities of younger students.

2.3 Study of the creative abilities of children of primary school age

In order to identify the level of development of creative abilities in younger students, we used different diagnostic methods. The base of our research is the Belozerskaya secondary school of the Dzhidinsky district. The study involved 26 students in grades 2 and 3. Grade 2 (8 people) was control, Grade 3 (11 people) was experimental.

Testing was carried out according to the tests of E.P. Torrance to identify the level of creative thinking of students, their flexibility, fluency and originality.

Test "Drawing" - for the study of non-verbal creative thinking in younger students. Children are given sheets of white paper, in the middle of which 5-6 contours are drawn with a simple pencil. The children must complete the drawing.

In interpreting the results, we paid attention to the fluency, flexibility, and originality of the results. Fluency is associated with the total number of responses. The maximum number of points is 3, the minimum is 0 (if the child refuses to draw). Flexibility was assessed by the number of categories used in the content of the drawings (for example, a child draws only people, or both people and animals, and a variety of other objects). Refusal of the task - 0 points, the maximum number of points - 3 (when using some categories). The originality of different categories was evaluated by points:

score - animals, food, transport

balla - toys, man

balla - heroes of fairy tales, clothes, bird, plants

balla - furniture, fish

points - insects, technique

points - toilet items, lamps, musical instruments, bedding.

In addition to fluency, flexibility and originality, the nature of the drawing was also evaluated as an important indicator of the child's creative abilities. If you refuse to draw, reproduce an identical contour next to the main one, attach an oval to paper without naming the picture and drawing it - 0 points. Drawing with a minimum number of lines, in which the traditional use of the contour is played out (cucumber, sun, ball, wave) - 1 point. The drawing consists of additional elements connected to the main contour (a person, a path in the garden, a boat) - 2 points. The main contour is a part in other objects or their detail (inclusion) - 3 points. The drawing contains a certain plot, expresses some actions - 4 points. The drawing includes several characters or objects that reveal its theme, which is subordinate to one semantic center associated with the contour - 5 points.

Normally, children should score 6-9 points, receiving 1 - 2 points for fluency, flexibility and originality and 3 - 4 points for the nature of the drawing. At more points (11 and above) we can talk about the high level of creative thinking of the child, his giftedness. Children who scored less than 2 - 3 points do not actually have creative thinking, although they may have a high intellectual level.

Research results:

No. F.I. StudentResult 1. Igor Sh.

Originality coefficient = sum of types / number of children = 30 / 8 = 3.7

class (control group)

No. F.I. studentResult1.Sasha V.32.Masha E.33.Alyosha P.44.Zhargal R.55.Julia V.56.Natasha K.37.Rodion P.58.Serezha Ya.39.Dmitry V.510.Volodya Yu. 411.Rimma N.4

Originality coefficient = sum of types / number of children = 44 / 11 = 4.0

The next test "What can happen at the same time?" was aimed at the study of verbal creative thinking. A set of questions that are asked in turn to the child. What can be at the same time:

Alive and non-living

black and white

small and big

soft and hard

Light and heavy

hot and cold

Sour and sweet

The children were asked questions in turn: What can be both white and black? Sweet and sour? etc. If the child did not understand the question and gave two answers, he was reminded that he was talking about one object, which can be, for example, white and black at the same time, and not about two objects, one of which is white, the other - black. In case of repetition of errors or failure to respond, testing was terminated.

When interpreting the results, the number of points was calculated according to the following parameters: fluency and originality.

Research results:

No. F.I. StudentResult1.Igor Sh.*2.Katya Ch.43.Irina P.44.Zhenya T.*5.Elizaveta D.46.Yumzhana S.37.Tumen G.48.Ilya Kh.4

class (control group)

No. F.I. StudentResult 1.Sasha V.42.Masha E.33.Alyosha P.34.Zhargal R.45.Julia V.46.Natasha K.37.Rodion P.58.Seryozha Ya.49.Dmitry V.310.Volodya Yu. 311.Rimma N.3

The next task is to write an essay. Children love to write. They love for the fact that you can show independence, you can write your innermost. The composition contributes to the development of accuracy in the choice of words, phrases, the clear design of one's own thoughts. To do this, students were offered pictures with fairy-tale characters. (see Attachment).

Children, using these characters, had to compose a fairy tale.

Analysis of results:

points - if all 6 characters are used in the essay

points -5 characters

points - 4 characters

points - 3 or less character.

class (experimental group)

No. F.I. StudentResult 1. Igor Sh.

Grade 3 (control group)

No. F.I. studentResult1.Sasha V.42.Masha E.23.Alyosha P.24.Zhargal R.45.Julia V.26.Natasha K.27.Rodion P.38.Serezha Ya.29.Dmitry V.310.Volodya Yu. 311.Rimma N.3

According to the results of three tests to identify the creative thinking of students, we obtained the following results:

class (experimental group)

No. F.I. student1 task2 task3 taskFinal result1. Igor Sh.

class (control group)

No. F.I. student 1 task 2 task 3 task .Volodya Yu.4331011.Rimma N.43310

Having determined the level of creative thinking of students, their flexibility, fluency and originality, we divided the children 2 classes into 4 groups:

the highest level of thinking (12 points) - 1 person

high level of thinking (10 - 11 points) - 3 people

average level of thinking (7 - 9 points) - 2 people

low level of thinking (6 and below points) - 2 people.

Table 1

The results of the study of creative thinking in students of grade 2 (experimental)

The highest level of thinkingHigh level of thinkingIntermediate level of thinkingLow level of thinking2 pers. (25.0%)1 person (12.5%)3 people (37.5%)2 people (25.0%)

Histogram 1. The final data of the study of creative thinking of the experimental 2nd class

table 2

The results of the study of creative thinking in students of grade 3 (control)

The highest level of thinkingHigh level of thinkingMedium level of thinkingLow level of thinking3 pers. (27.3%)2 people (18.2%)4 people (36.4%)4 people (36.4%)

Histogram 2. The final data of the study of creative thinking of the control grade 3

At the formative stage of the experiment, we developed and tested the program "Creativity Lessons", which consists of 8 lessons and is designed for 4 weeks. In order to develop creative abilities, children are included in various forms and activities. Classes are structured in such a way that there is a frequent change of activities, while the principle from complex to simpler is observed. During each task, dynamic pauses are held.

At this stage, the following methods were carried out (in the Appendix):

"Sun in the room";

"How to save a bunny";

Think up and tell what happened to each of the characters.

Students in the 2nd and 3rd grade participated in this experiment.

The purpose of the "Sun in the Room" technique is to identify the abilities of the child "unreal" to "real" in the context of a given situation by eliminating the discrepancy.

The children were given a picture depicting a room in which there is a little man and the sun. Children need to correct the picture so that it is correct. During the study, the child's attempts to correct the drawing are evaluated. Data processing is carried out according to a five-point system:

Lack of response, rejection of the task (“I don’t know how to fix it”; “I don’t need to fix the picture”) - 1 point.

Formal elimination of inconsistency (erase, paint over the sun) - 2 points.

A constructive answer to separate the inappropriate element from others, keeping it in the context of a given situation (“make a picture”, “draw a window”, “put the sun in a frame”) - 5 points.

Research results:

Grade 2 (experimental group)

No. F.I. StudentResult 1. Igor Sh. Grade 3 (control group)

No. F.I. StudentResult 1.Sasha V.32.Masha E.33.Alyosha P.14.Zhargal R.35.Julia V.36.Natasha K.47.Rodion P.28.Serezha Ya39.Dmitry V.310.Volodya Yu.111. Rimma H.4

The next task was "How to save the bunny."

The purpose of the technique "How to save a bunny" is to assess abilities and turn a choice task into a task of transformation in terms of transferring the properties of a familiar object to a new situation. A bunny figurine, a saucer, a bucket, a wand, a deflated ball and a sheet of paper are placed on the table in front of the child. I tell the children that such a story once happened to a bunny. The bunny decided to swim in a boat on the sea and sailed away far, far from the coast. And then a storm began, huge waves appeared, and the hare began to sink. Only you and I can help the bunny. We have several for this (a saucer, a bucket, a wooden stick, a deflated balloon and a sheet of paper). What you choose to save the bunny.

In the course of the study, the nature of the child and their rationale are recorded. Data are evaluated on a three-point system.

point - The child chooses a saucer and a bucket, as well as a stick with which you can lift the bunny from the bottom without going beyond a simple choice; the child tries to use ready-made objects, mechanically transfer their properties to a new situation.

points - A decision with an element of simple symbolism, when a child suggests using a stick as a log on which a bunny can swim to the shore. In this case, the child again does not go beyond the situation of choice.

3 points - To save the bunny, it is proposed to use a deflated balloon or a piece of paper. For this purpose, you need to inflate a balloon (“a bunny on a balloon can fly away”) or make a boat out of a sheet. In children at this level, there is a setting for the transformation of objective material available. The initial task of choice is independently transformed by them into a task of transformation, which testifies to the child's supra-situational approach to it.

Research results:

Grade 2 (experimental group)

No. F.I. StudentResult 1. Igor Sh.

class (control group)

No. F.I. studentResult1.Sasha V.12.Masha E.23.Alyosha P.14.Zhargal R.15.Julia V.16.Natasha K.27.Rodion P.38.Serezha Ya39.Dmitry V.110.Volodya Yu.111. Rimma N.1

The last task is "Think up and tell what happened to each of the characters."

For each picture, you need to come up with a story that fits the facial expression of the characters. The task is evaluated on a three-point system.

points - if the story fits the picture;

points - if the story does not fit the drawing;

1 point - if you didn't come up with anything.

Research results:

Grade 2 (experimental group)

No. F.I. StudentResult 1. Igor Sh.

class (control group)

No. F.I. studentResult 1.Sasha V.32.Masha E.33.Alyosha P.34.Zhargal R.35.Julia V.36.Natasha K.37.Rodion P.38.Seryozha I39.Dmitry V.310.Volodya Yu.311. Rimma N.3

According to the results of three tests to identify the creative imagination of students, we obtained the following results.

Grade 2 (experimental group)

No. F.I. student1 task2 task3 taskFinal result1. Igor Sh.33392. Katya Ch.

class (control group)

No. F.I. student 1 task 2 task 3 task .Volodya Yu.113511.Rimma N.4138

Having determined the level of creative thinking of students, their flexibility, fluency and originality, we divided the children of the 2nd grade into 4 groups:

the highest level of thinking (7-9 points) - 4 people

high level of thinking (5-6 points) - 3 people

average level of thinking (4 points) - 1 person

low level of thinking (3 and below points) - no.

table 2

The highest level of thinkingHigh level of thinkingMedium level of thinkingLow level of thinking4 pers. (50.0%)3 people (37.5%)1 person (12.5%)-

Histogram 2. The final data of the study of creative thinking of the experimental 2nd class

Histogram 3. Comparative data of the study of creative thinking of the ascertaining and forming stages

Thus, in order for the rich creative potential of children to be actualized, it is necessary to create certain conditions, first of all, to introduce the child into real creative activity. After all, it is in it, according to psychologists, that abilities are born and develop from the prerequisites.

mental moral creative child

CONCLUSION

Creative thinking is the creation of new images based on accumulated knowledge.

The development of creative abilities is a complex and important undertaking, the successful implementation of which is helped by close cooperation between the school and the family. And the teacher himself must be tolerant of the manifestations of children's creativity, whether they are not even at the right time or simply seeming silly to us. You need to be able to see them in time, encourage them and give them the opportunity to manifest themselves again.

The diagnostics carried out made it possible to identify shortcomings and outline ways to improve the development of the creative potential of children.

At the final stage of the study, a control stage was carried out, the purpose of which was to determine the effectiveness of the experimental study. The methods that we carried out after the developed program showed that the level of creative thinking of students has risen.

Despite the statistical insignificance of various shifts in the creative activity of the imagination of younger schoolchildren in the experimental and control groups, there is an undoubted tendency for this activity to increase in the experimental group. Which, in general, allows us to say that the program we conducted intensifies the growth of the creative activity of the imagination in younger students.

In the process of research, we analyzed the essential characteristics of abilities, their theoretical aspects, pedagogical management of the process of developing creative abilities in school conditions. The development of children's creative abilities seems to us especially important and relevant today.

The problem of pedagogical management of the development of creative abilities was considered by us from different angles: we used the program of the author G.V. Terekhova "Lessons of Creativity", which can be used as an elective course and optional class.

The problem is our reflection in the educational and leisure activities of the school.

We have made an attempt to build a certain system for performing creative tasks at each lesson in the process of teaching younger students. By the system of creative tasks, we mean an ordered set of interrelated tasks focused on cognition, consciousness, transformation in a new qualityobjects, situations and phenomena of educational reality.

One of the pedagogical conditions for the effectiveness of the system of creative tasks is the personal-activity interaction of students and the teacher in the process of their implementation. Its essence lies in the inseparability of direct and reverse influence, organic combination, changes in the subjects influencing each other, awareness of interaction as co-creation.

In the course of the experimental work, we came to the conclusion that one of the pedagogical conditions for the effectiveness of the system of creative tasks is the personal-activity interaction of students and the teacher. in the course of their implementation. Its essence lies in the inseparability of direct and reverse effects, the organic combination of changes that affect each other, the understanding of interaction as co-creation.

The personal-activity interaction of a teacher and students in the process of organizing creative activity is understood as a combination of organizational forms of education, a binary approach to the choice of methods and a creative style of activity.

With this approach, the organizational function of the teacher is strengthened, it involves the choice of optimal methods, forms, techniques, and the function of the student is to acquire the skills of organizing independent creative activity, choosing the way to perform a creative task, and the nature of interpersonal relations of relationships in the creative process.

All these measures allow children to be actively involved as subjects in all types of creative activity.

The accumulation by each student of the experience of independent creative activity presupposes the active use of collective, individual and group forms of work at various stages of performing creative tasks.

The individual form allows you to activate the student's personal experience, develops the ability to independently select a specific task for solution.

The group form develops the ability to coordinate one's point of view with the opinion of comrades, the ability to listen and analyze the areas of search proposed by group members.

The collective form expands the ability of students to analyze the current situation in the widest interaction with peers, parents, teachers, provides the child with the opportunity to find out different points of view on solving a creative problem.

Thus, the effectiveness of the work being done is largely determined by the nature of the relationship, both between students and between students and the teacher.

In this regard, some conclusions and recommendations:

The results of our observations, the questioning of students and their parents indicate that the child's creative abilities develop in all types of activities that are significant to him, provided that the following conditions are met:

· the presence of an interest formed in children in performing creative tasks;

· implementation of creative tasks as the most important component of not only classroom, but also extracurricular activities of the student;

· uniting by a common thematic and problematic core of educational and extracurricular forms of work, in which children learn to reflect on the problems of creativity and translate these reflections into practical activities;

· creative work should unfold in the interaction of children with each other and adults, be lived by them depending on specific conditions in interesting game and event situations;

· encourage parents of students to create home conditions for the development of the child's creative abilities, include parents in the creative affairs of the school.

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Annex 1

There is a great formula of the "grandfather" of astronautics K.E. Tsiolkovsky, who opens the veil over the secret of the birth of a creative mind: “At first I discovered truths known to many, then I began to discover truths known to some, and, finally, I began to discover truths unknown to anyone.”

Apparently, this is the path of the formation of creative abilities, the path of development of inventive and research talent.

Our duty is to help the child to embark on this path.

Methods are the techniques and means by which the development of creative abilities is carried out.

One of the basic principles of teaching is the principle from simple to complex. This principle is the gradual development of creative abilities.

In the process of organizing training for the development of creative abilities, great importance is attached to general didactic principles:

scientific

systematic

sequences

accessibility

visibility

activity

strength

individual approach

All classes for the development of creative abilities are held in the game. This requires games of a new type: creative, educational games, which, with all their diversity, are united under a common name not by chance, they all come from a common idea and have characteristic creative abilities.

Each game is a set of tasks.

Tasks are given to the child in different forms, and thus introduces him to different ways transfer of information.

The tasks are arranged roughly in order of increasing difficulty.

The tasks have a very wide range of difficulty. Therefore, games can arouse interest for many years.

The gradual increase in the difficulty of tasks - contributes to the development of creative abilities.

For the effectiveness of the development of creative abilities in children, the following conditions must be observed:

development of abilities should start from an early age;

tasks-steps create conditions that are ahead of the development of abilities;

creative games should be varied in content, because create an atmosphere of free and joyful creativity.

Exercise 1

From paper cones, cylinders and other elements, try to glue as many figures of people and animals as possible. Examples of this task are shown in fig. 2.

Task 2

Stock up on old illustrated magazines and bright pieces of fabric. Together with your child, cut out figures of different shapes from the illustrations contained in the magazines and pieces of fabric. Now we paste the resulting figures on a sheet of cardboard and get a collage.

Examples are shown in fig. 3. All this is creative work, but the main task is: "Find as many analogies with real objects as possible." The collage can be rotated as you like.

Rice. 3. Examples of collages from different materials

Task 3

A very interesting and therefore very popular task was proposed by the psychologist D. Gilford: to find as many different, original applications as possible for a well-known subject. As such an object, you can use brick, chalk, newspaper and much more.

This task usually takes five to six minutes to complete. In the course of the analysis of the results, all answers are taken into account, except for those that do not correspond to the task, are repeated or may be considered ridiculous. This task can be offered to both older preschoolers and adults.

In this case, the productivity and originality of thinking are evaluated. The more ideas, the more unusual among them, the more points the participant receives.

Another task: pick up adjectives and nouns that contain the concepts of light and darkness (heat and cold, spring and winter, morning and evening, etc.). Let's give examples of answers.

Light- bright, affectionate, lively;

Sun - ...

lamp - ...

bonfire - ...

candle - ...

Darkness- closed, night;

evening - ...

cave - ...

Task 4

Find as many common features as possible for dissimilar items. Well - parquet;

log - box;

cloud - door;

doll - snow.

Task 5

Divergent tasks include tasks to find the causes of events. Here are a few situations that you need to determine the causes of their occurrence: 1. In the morning Dima woke up earlier than usual.

The sun had not yet gone below the horizon, but it was already getting dark.

Sitting at the feet of the owner, the dog growled menacingly at the little kitten.

Task 6

Another version of the task described above: think up and tell what happened to each of the characters.

The child must understand the emotional state of each of the boys and tell what happened to them.

Task 7

Think what could happen if...

"... it will rain without ceasing"

"... people will learn to fly like birds"

"...dogs will start talking with a human voice"

"... all fairy-tale heroes will come to life"

"... orange juice will come out of the faucet"

It is good if the child was able to come up with an interesting answer to each of the proposed phrases.

Task 8

Task for the development of creative thinking in children: inventing stories, stories or fairy tales using a given set of words, for example:

Traffic light, boy, sled.

Task 9

Look at the pictures and think of a fairy tale in which all these characters would participate.

Task 10

The next type of tasks: "Mystery Clouds". The child needs to determine what the clouds depicted in the pictures look like ( ink stains). It's good if he can see at least one character in each cloud.

Task 11

Another option for this task: try to draw something interesting using these shapes.

Task 12

Another exercise: draw and color the sorceresses so that one becomes good and the other evil.

Creative tasks can be developed on any material. A good task of this type can be the creation of a variety of figures from the details of a building designer.

APPENDIX 2

Technique "Draw faces"

Task type: Symbolic development of details.

· Developing the ability to create meaningful objects by adding and developing details.

· Development of symbolic fluency and flexibility.

Exercise

Cut out pictures and photographs of people with different moods from old magazines. Show these pictures to the class by posting them on the board. Ask what they are, these faces: happy or sad, etc. Show a face with a cheerful expression. Ask the children how and what needs to be changed in the picture to turn this face into a sad one. Emphasize that the eyes and eyebrows can convey the mood of a person just as well as the contours of the mouth.

Write on a piece of paper (or on a chalkboard) the words "cheerful", "angry" and "sad". Call one of the students and ask him to stand in front of the class, pick up a sheet with the inscription "cheerful" and portray a cheerful mood. Call other students and ask them to portray different moods.

Have the children look at task A. Ask them to draw the faces that match the labels below them. Where there are no captions, have the children come up with their own names and then draw the faces that match those names.

Before completing task B, ask students to write or tell what the person in each picture feels, what mood he is in. Ask them to complete the drawing by adding eyebrows, eyes, mouth and other details and make captions.

If further clarification is needed, you can hide part of your face under a scarf and ask the children to guess your mood from the visible part of your face (for example, hide your mouth and show a cheerful mood with your eyes). After the children have given their guesses, remove the scarf and let the children check if they guessed correctly. Emphasize that your eyebrows, eyes and mouth help create a particular facial expression.

Additional task

You can play a game with students where one of them will depict a particular mood, and the rest will try to guess what he depicts.

Ask the children to draw some faces that are similar to the ones they drew in tasks A and B and write words that fit these faces, making them come to life as if they were saying or thinking something.

APPENDIX 3

Technique "Sun in the room"

Base. Realization of the imagination

Target. Identification of the child's ability to transform "unreal" into "real" in the context of a given situation by eliminating the discrepancy.

Material. A picture depicting a room in which there is a little man and the sun; pencil.

Instructions for carrying out.

Psychologist showing a picture to a child: "I give you this picture.

Look carefully and say what is drawn on it. " After listing the details of the image (table, chair, little man, lamp, sun, etc.), the psychologist gives the following task: "Correct. However, as you can see, here the sun is drawn in the room. Tell me, please, can it be so, or has the artist messed up something here? Try to fix the picture so that it is correct."

It is not necessary for the child to use a pencil, he can simply explain what needs to be done to "correct" the picture.

Data processing.

During the examination, the psychologist evaluates the child's attempts to correct the drawing. Data processing is carried out according to a five-point system: 1. Lack of response, rejection of the task (“I don’t know how to fix it”, “I don’t need to fix the picture”) - 1 point.

. "Formal elimination of inconsistency (erase, paint over the sun) -2 points.

Constructive answer (separate the inappropriate element from others, keeping it in the context of the given situation "Make a picture," Draw a window", "Put the sun in a frame", etc.) - 5 points.

APPENDIX 4

Method "Folding picture"

Reason: The ability to see the whole.

Material: Four-fold folded duck cardboard picture (size 10*15cm)

Instructions for carrying out.

Psychologist, presenting a picture to a child: "Now I will give you this picture. Please look carefully and tell me what is drawn on it?" After listening to the answer, the psychologist folds the picture and asks: "What will happen to the duck if we fold the picture like this?" After the child's answer, the picture straightens out, folds up again, and the child is asked the same question again. In total, five folding options are used - "corner", "bridge", "house", "pipe", "accordion".

Data processing

During the examination of the child, the psychologist fixes the general meaning of the answers when performing the task. Data processing is carried out according to a three-point system. Each task corresponds to one position when bending the picture.

The maximum score for each task is 3 points. In total - 15 points.

The following response levels are distinguished:

1.Lack of response, rejection of the task ("I don't know", "Nothing will happen", "It doesn't happen like that") - 1 point.

2.Descriptive type answer, listing the details of the drawing that are in or out of view, i.e. loss of the context of the image ("The duck has no head", "The duck is broken", "The duck is divided into parts", etc.) - 2 points.

.Combining type answers: preserving the integrity of the image when the picture is bent, including the drawn character in a new situation ("The duck dived", "The duck swam behind the boat"), the construction of new compositions ("As if they made a pipe and painted a duck on it"), etc. e. - 3 points.

.Some children give answers in which the preservation of the integral context of the image is “tied” not to any situation, but to the specific form that the picture takes when folded (“The duck has become a house”, “It has become like a bridge”, etc.) . Such answers belong to the combining type and are also estimated at 3 points.

APPENDIX 5

Technique "How to save a bunny"

Base. Supra-situational-transformative nature of creative solutions.

Purpose: Evaluation of the ability and transformation of a choice task into a transformation task under the conditions of transferring the properties of a familiar object to a new situation.

Material: Bunny figurine, saucer, bucket, wooden stick. deflated balloon, sheet of paper.

Instructions for conducting

A bunny figurine, a saucer, a bucket, a wand, a deflated ball and a sheet of paper are placed on the table in front of the child. Psychologist, picking up a bunny: "Meet this bunny. Once such a story happened to him. The bunny decided to sail on a boat in the sea and sailed far, far from the coast. And then a storm began, huge waves appeared, and the bunny began to sink. Help Only you and I can do a bunny. We have several objects for this (the psychologist draws the child's attention to the objects laid out on the table). What would you choose to save the bunny?"

Data processing

During the survey, the nature of the child's answers and their justification are recorded. Data are evaluated on a three-point system.

First level. The child chooses a saucer or bucket, as well as a stick with which you can lift the bunny from the bottom without going beyond a simple choice; the child tries to use ready-made objects, mechanically transfer their properties to a new situation. Rating - 1 point.

Second level. A decision with an element of simple symbolism, when a child suggests using a stick as a log, on which a bunny can swim to the shore. In this case, the child again does not go beyond the situation of choice. Rating - 2 points.

Third level. To save the bunny, it is proposed to use a deflated balloon or a sheet of paper. For this purpose, you need to inflate a balloon ("A bunny on a balloon can fly away") or make a boat out of a sheet. In children at this level, there is a setting for the transformation of objective material available. The initial task of choice is independently transformed by them into a task of transformation, which indicates a supra-situational approach to it by the child. Rating - 3 points.

APPENDIX 6

Methodology "Plate"

Base. Children's experimentation

Purpose: Evaluation of the ability to experiment with transforming objects.

Material. A wooden plank, which is a hinged connection of four smaller square links (the size of each link is 15 * 15 cm)

Instructions for conducting:

The plank in expanded form lies in front of the child on the table.

Psychologist: "Now let's play with such a board. This is not a simple board, but a magic one: you can bend and unfold it, then it becomes like something. Try it."

As soon as the child folded the board for the first time, the psychologist stops him and asks: "What did you get? What does this board look like now?"

Hearing the child's answer, the psychologist again turns to him: "How else can you fold it? What did it look like? Try again." And so on until the child stops himself.

Data processing.

When processing the data, the number of non-repeating responses of the child to naming the shape of the resulting object as a result of folding the board (“garage”, “boat”, etc.) is evaluated, one point for each name.

The maximum number of points is initially not limited.

Systematic thinking.

APPENDIX 7

Creativity Lessons Program

This program consists of 8 lessons and is designed for 4 weeks. Their duration did not exceed one school lesson. Each child was given the opportunity to express themselves, be open and not be afraid of mistakes.

Creative activity develops the feelings of children, contributes to a more optimal and intensive development of higher mental functions, such as memory, thinking, perception, attention.

Creativity makes a child's life richer, fuller, more joyful. Children are able to engage in creativity regardless of personal complexes.

Each child has his own, unique traits that can be recognized early enough.

Purpose of the program: development of creative abilities of primary school age.

Program objectives:improve the level of creative abilities of children of primary school age.

Basic working methods:individual, group, collective.

Classes are structured in such a way that there is a frequent change of activities, while the principle from complex to simpler is observed. During each task, dynamic pauses are held.

Reflection at the end of the session involves discussing with the children what they learned in the session and what they liked the most. Each student analyzes his attitude to the classes, whether he succeeded in creative work.

In order to develop creative abilities, children are included in various forms and activities.

The program for the development of junior schoolchildren allows you to favorably influence the formation of the personality of a growing person through a system of classes, to trace the dynamics of changes in personality development, to obtain grounds for predicting the future course mental development child.

Techniques and methods of working with children correspond to the age and individual psychological characteristics of younger students.

Thematic planning for grade 2

Date Topic Title Number of Hours 1 week "Improbable Situation" 12 weeks "What? Where? How?" Week 13 "Improvement of the toy" Week 14 "Ball"

Thematic planning for grade 3

Date Topic name Number of hours 1 week "Unusual sound" 12 weeks "Balls" 13 weeks "Blot" 14 weeks "Methods of action" 1 Total 4

Exercise "Improbable situation"

Description of the exercise

Children are invited to think about some imaginary situation, the occurrence of which is unlikely or extremely unlikely. Their task is to imagine that such a situation did happen, and to offer as many consequences for humanity as possible, to which it can lead. The exercise is performed in subgroups of 3-5 people, the work time is given at the rate of 5-6 minutes per situation. Here are some examples of improbable situations for this exercise.

All humans will suddenly grow tails.

The endings in all words of the Russian language will disappear.

From the clouds, cables will begin to hang down to the Earth itself.

Sports will immediately and completely disappear from people's lives.

All metals will turn into gold.

There are various options for this exercise. For example, several subgroups may be asked to discuss the same situation. Then the presentation of the results is organized as follows: each of the subgroups in turn gets the floor in order to voice one idea, it is impossible to repeat. If the original ideas of the subgroup have been exhausted, it leaves the game; the team that stays in the game the longest wins. If the subgroups for discussion have different situations, then such a competition is not held, instead, representatives of each of the subgroups voice 3-5 ideas that seemed the most original.

Training the ability to generate unusual ideas in relation to situations that go beyond ordinary ideas.

Discussion

Which of the proposed ideas are most vividly remembered, seem to be the most creative? Why are these ideas interesting? In what real-life situations is the ability to think about “impossible situations” useful? Can you give examples from your life experience when a seemingly impossible situation becomes real?

Exercise "What? Where? How?"

Description of the exercise

Children sitting in a circle are shown some unusual object, the purpose of which is not entirely clear (you can even use not the object itself, but its photograph). Each child, in order, must quickly answer three questions:

)What is it?

2)Where did it come from?

)How can it be used?

At the same time, repetition is not allowed, each child must come up with new answers to each of these questions.

The psychological meaning of the exercise.

A light "intellectual warm-up" that activates the fluency of children's thinking, stimulating them to put forward unusual ideas and associations.

Discussion

What answers to the questions were remembered by the children, seem to be the most interesting and original?

Exercise "Toy Improvement"

Description of the exercise.

The children are shown a soft toy and given the task: to offer as many fundamentally feasible ways to improve it as possible - what can be done to make it more interesting for children to play with it? The exercise is performed in subgroups of 4-5 people, working time 8-10 minutes. Then the representatives of each of the subgroups alternately present their ideas.

The psychological meaning of the exercise

Training the ability to generate ideas in a team environment

Discussion

What, from the point of view of the children, contributed to the emergence of new ideas in this activity, and what hindered it? What ideas seem to be the most creative? How can the expressed ideas be classified, what semantic categories do they belong to? What life situations can be likened to this exercise?

Exercise "Ball"

Description of the exercise

The game is as follows: the children stand in a circle and throw the ball to each other. The one who throws it says a word or asks a question, and the one to whom the ball is addressed answers it in accordance with the given leading rules. After that, the ball is thrown to another participant, etc., until it is in the hands of everyone. Specific game options may look different, for example, like this:

the thrower names any object, and the one who catches must quickly name three possible ways to use this object;

the thrower names a color, and the catcher names three objects of that color.

The psychological meaning of the exercise

Training fluency of thinking, developing the ability to quickly respond to unexpected questions. The exercise serves as a good warm-up, can be repeated in various versions in several classes.

Discussion

Exercise "Unusual sound"

Description of the exercise

The host or children who have expressed a desire to take on such a function make any unusual sounds without showing others how they do it. Sounds can be produced, for example, by rubbing various objects against each other. The task of other children is to put forward as many ideas as possible about in what real life situations such sounds can occur, and also to suggest how they are produced at the moment.

The psychological meaning of the exercise

Putting forward ideas about various interpretations of ambiguous, poorly structured material.

Discussion

A short exchange of impressions will suffice.

Tags: Development of creative abilities of children of primary school age Diploma in Psychology

For the most accurate understanding of the topic of our study, it is necessary to give the concept of "creativity". Creativity is defined as a human activity that creates new material and spiritual values ​​that have novelty and social significance, that is, as a result of creativity, something new is created that did not exist before. The concept of "creativity" can also be given a broader definition. The Soviet philosopher A. Mateiko believes that the essence of the creative process lies in the reorganization of existing experience and the formation of new combinations on its basis. Creativity is the process of creating a subjectively new, based on the ability to generate original ideas and use non-standard methods of activity. In essence, creativity is "the ability to create any fundamentally new opportunity" (G.S. Batishchev).

Many combine the concept of "creativity" and "creative activity", comparing them to each other. These two concepts are considered to be integral components of all creativity. The concept of creative activity is usually understood as an activity associated with the creation of something qualitatively new.

There are different types of creativity: scientific, technical, artistic, etc. All of them have their own specific features, commonality and differences.

Scientific creativity is "an activity aimed at the production of new knowledge that receives social approbation and is included in the system of science", "a set of higher cognitive processes that expand the boundaries of scientific knowledge". Creativity in science requires, first of all, the acquisition of fundamentally new socially significant knowledge; this has always been the most important social function of science.

This is the basis of technological progress. Technical creativity as a form of practical activity is a specific social phenomenon. Its specificity is determined by the nature of the technical problem, the solution of which requires a real tool, invention or design. Unlike scientific, technical creativity is directly related to the practice of operating existing technical structures in the process of creating and introducing new structures into production. In technical creativity, practical and spiritual moments of activity are closely intertwined. Practical action is expressed in changing the material of nature during the actual design of a technical object. Spiritual activity acts as an ideal construction of an object.

Technical creativity involves obtaining new results in the field of technology in the form of technical ideas, drawings, embodied in real technical objects.

Unlike scientific and technical creativity, artistic creativity does not have a direct focus on novelty, it is not identified with the production of a new one, although originality is usually present among the criteria for artistic creativity and the evaluation of artistic talent. At the same time, art never denied the strength and power of scientific methods and used them to the extent that they helped to solve the main task of art - the creation of aesthetic values. But at the same time, there is always in art an understanding of superiority over science in the ability to use the power of fiction, intuition and fantasy.

Next, you need to define what “ability” is in general. According to Teplov B. M., “abilities are certain individual psychological characteristics that distinguish one person from another, which are not reduced to the stock of skills and knowledge already available to a person, but determine the ease and speed of their acquisition.” The key to the development of abilities is the concept of "efficiency" - a subtle adaptation of personality traits to the requirements of activity.

Thus, in its most general form, the definition of creative abilities is as follows. Creative abilities are the individual characteristics of a person's quality, which determine the success of his performance of various creative activities.

Since the element of creativity can be present in any kind of human activity, it is fair to speak not only about artistic creativity, but also about technical creativity, mathematical creativity, and so on.

In most cases, a creative person is a person who thinks in an original way, the result of these thinking will be non-standard solutions.

But thinking can be both reproductive and creative. Reproductive thinking is a kind of thinking in which our memory helps us to reproduce existing images and concepts. And creative thinking is the kind of thinking that generates some new, previously unknown material.

And this means that creative activity cannot be based on only one type of thinking - reproductive, there must be creative thinking, which is one of the most important components of human creativity.

Let us turn to the works of L. S. Vygotsky, with the aim of the most complete understanding of creativity as a product of human activity:

“In addition to reproducing activity, it is easy to notice in human behavior another kind of this activity, namely, combining or creative activity.”

By reproducing activity, Vygotsky understood the ability of our brain to preserve and reproduce the experience we already have. And the organic basis of such reproducing activity (or memory) is the plasticity of our nervous substance.

“Any such human activity, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions, will belong to this second kind of creative or combining behavior.”

Thus, L. S. Vygotsky tells us that creativity cannot simply be called the reproduction of our experience, and creativity, in his understanding, is the creation of something completely new, something that we did not know yet.

"This creative activity, based on the combining ability of our brain, psychology calls imagination or fantasy."

This means that creativity and imagination are inextricably linked in their essence.

Creative imagination, like any other activity, of a child differs from the activity of an adult, because a child in his growing up goes through different eras of childhood. In each period of child development, creative imagination works in a special way, characteristic of the particular stage of development at which the child stands. Because the imagination depends on experience, and the child accumulates experience gradually. But in turn, there is an opinion that the imagination of a child is richer than that of an adult. But this statement does not find its confirmation in scientific consideration. The experience of a child is poorer than that of an adult, the interests are simpler, more elementary, poorer, therefore the child's imagination is not richer, but poorer than that of an adult. In the process of child development, imagination also develops, reaching its maturity only in an adult.

O. M. Dyachenko refers to the main criteria for the manifestation of creative imagination in preschoolers:

• 1. Originality in the performance of creative tasks by children.
• 2. The use of such a restructuring of images, in which the images of some objects are used as details for the construction of others.

Creativity is creativity. In this case, creativity is understood broadly, from the standpoint of a personal approach, which allows us to interpret creativity as a developing phenomenon. Research by psychologists and educators allows us to connect creativity with the development of personality and intellect, with the development of imagination, which has a special form, appearance in a preschool child, which means that the creativity of a preschooler also has a special form.

Thus, it became clear to us that creative activity, in addition to being associated with imagination, is also dependent on creativity.

J. Gilford identified four main parameters of creativity:

• 1) originality - the ability to produce distant associations, unusual answers;
• 2) semantic flexibility - the ability to highlight the function of an object and suggest its new use;
• 3) figurative adaptive flexibility - the ability to change the form of the stimulus in such a way as to see in it new features and opportunities for use;
• 4) semantic spontaneous flexibility - the ability to produce a variety of ideas in an unregulated situation. General intelligence is not included in the structure of creativity.

Later, J. Gilford mentions six parameters of creativity:

• 1) the ability to detect and formulate problems;
• 2) the ability to generate a large number of ideas;
• 3) flexibility - the ability to produce various ideas;
• 4) originality - the ability to respond to stimuli in a non-standard way;
• 5) the ability to improve the object by adding details;
• 6) the ability to solve problems, i.e. the ability to analyze and synthesize.

We note the main directions for the development of creative abilities in children:

• 1. Development of the imagination.
• 2. Development of the qualities of thinking that form creativity.

Of the three types of creativity previously presented to us, children's creativity is reflected only in art. Children of preschool age still do not know how to count, write, solve complex problems, they are generally beyond their strength, therefore, we cannot talk about scientific creativity at preschool age. Technical creativity is also not characteristic of preschool children, their level of development simply does not allow them to do so. Yes, and we understand that we cannot implement the inventions of children, because for this it is necessary that they be safe for the life of all people, which a preschooler cannot take into account when inventing new technical means.

In modern literature, the analysis of the creativity of preschoolers is carried out mainly in three directions (N. N. Poddyakov). The first direction involves the study of the mechanisms of the child's creative processing of newly acquired experience, as well as the quantitative and qualitative features of the transformative, combining activity of children in this process. A special place is occupied by the definition of the role of fantasy in the development of creativity of preschoolers. The second direction is the study of the structure of search activity, the formation and change of its main forms, the conditions for the complication and development of this activity, etc. One of the important forms of search activity is children's experimentation. The third direction focuses on the study of the problems of interaction and the relationship of the creative process with the emotional development of preschoolers. Emotions form the basis for the formation of the child's needs both in the creative process itself and in its final product. The emotional saturation of children's creativity, ultimately, contributes to the formation of the heuristic structure of personality.

Psychologists also argue that the development of creativity qualitatively changes the personality of a person.

L.A. Paramonova highlights the following features of the preschooler's creativity. Children make many discoveries and create an interesting, sometimes original product in the form of a drawing, construction, poem, etc. The novelty of discoveries and products is subjective; this is the first important feature of children's creativity. At the same time, the process of creating a product for a preschooler is almost of paramount importance. The activity of the child is distinguished by great emotional involvement, the desire to seek and try out different solutions many times, receiving special pleasure from this, sometimes much more than from achieving the final result. And this is the second feature of children's creativity. For an adult, the beginning of solving a problem (its awareness, the search for approaches) is the most difficult and painful, sometimes leading to despair. A child, unlike an adult, does not experience such difficulties (unless, of course, he is subjected to the harsh demands of adults). He easily and practically begins an indicative, sometimes not even entirely meaningful activity, which, gradually becoming more focused, captivates the child with a search and often leads to positive results. And even in the musical creativity of the child, there is a simultaneity of composition and performance. And this is the third feature of children's creativity, undoubtedly connected with the first two, and especially with the second.

N. A. Vetlugina for each period of childhood highlights its characteristics of creative activity and creativity:

For children from two to three years, simpler actions are characteristic. For example, they like to listen to poems, songs. They also tend to draw, sculpt, dance, read poetry and sing, but in the classroom for artistic activities. And in independent activities, according to Vetlugina, children draw on their own, and dance and sing along with the teacher. Also, at the holidays that are held in kindergarten, children are simply present and rejoice, but they themselves do not participate yet.

Children from three to four years old are characterized by a manifestation of interest in creativity, the ability to concentrate, an understanding of what is being discussed in poems and songs. They can work both independently and in a team of peers. Sometimes they even begin to draw, dance, sing on their own, without the suggestion of a teacher, but still they do not always actively take the initiative to creative activity. They can already take part in festive matinees and entertainment.

Children from four to five years old are characterized by the correct perception of all works of art, they feel the need for independent artistic creativity: drawing, modeling, singing, dancing, reading poetry. Creativity manifests itself in the following way: they sing small songs clearly, read poetry expressively, successfully depict objects and phenomena in drawings, convey the content of a picture, song, game, drawing, but so far with the help of an educator. On their own initiative, they look at pictures, color them, draw. Actively answer questions during holiday entertainment, if necessary, show a desire to participate in holiday performances and entertainment.

Children from five to six years old are characterized by a manifestation of interest in various types of art, trying to learn certain skills, and accurately fulfill the tasks of the teacher. Correctly represent the content of the lesson (we learn to draw, sculpt, etc.). They show musical and poetic ear, show a sense of rhythm, feel and distinguish between musical, poetic and prose forms. They show a desire to independently perform a certain role in dramatization and musical plot play. Evaluate the quality of the work of their comrades, perceive evaluations from comrades. They themselves choose a song, verse, book, take the initiative in organizing an amateur concert, repeat at home the most interesting songs, dances, and poems from the festive repertoire.

Children from six to seven years old are characterized by an emotional perception of a work of art. Children willingly engage in all types of artistic activities, giving preference to one of them. They show the ability to timely submit their cue in the game-dramatization, being engaged in visual activity, bring the idea to the end. They know what is needed for a song to be well sung, a drawing to be well drawn, etc. Accurately repeat the movements shown in the rhythm lessons. They feel and distinguish the form of a musical work, a poetic one. Show imagination when retelling. They use figurative expressions from fairy tales, songs, poems. The desire to correctly evaluate their own performance. They know different types of spectacles (cinema, theater, circus), express a desire to listen to their favorite works, can pick up, on their own initiative, a familiar melody on a metallophone. Show creative initiative and organizational skills.

In the course work we are talking about artistic and creative abilities. The “artistic coloring” of the abilities manifested in creative activity is given by its “artistic character”. "Artistic" is one of the most important concepts in the aesthetics of art history, reflecting the specific feature of art as a form of reflection and cognition of reality. It is customary to refer to artistic activities as visual activity with all the variety of its types - directly pictorial (drawing), decorative (decorating - decorating and design) and design (construction from various materials - natural, waste, paper, etc.) In kindergarten, preschoolers master almost all types of visual activity (drawing, modeling, application) and design.

The main activity of preschool children in which they can show their creative abilities is the game. In it, they can think over plots, roles, lines of development of the game, thereby including their imagination, creativity. But in addition to the game, children are engaged in creativity of this kind, such as drawing, modeling, singing, dancing. The development of these types of creativity indicates to us that the child develops both creative activity and imagination.

It is especially important when children can think through a role-playing game (senior preschool age) and begin to play it, inventing everything that will happen to them themselves. This will be one of the main indicators of the normal development of children.

During classes in fine arts, children learn to reflect the reality around them, to correctly convey the shape and color of objects. During these activities, the child not only learns to reproduce the objects he has seen, but he also learns to think. It is not always possible to draw from life, having a model in front of you, then the children begin to remember the objects that they have already seen and try to repeat them in drawings, sculptures, applications. Again, when children draw, they put into the drawing some kind of experience, emotions associated with what they want to depict. They are trying to come up with some kind of plot, to determine the meaning of what is drawn, thereby giving the activity a creative character.

Often children try to reproduce in their works something that cannot exist at all, using creative thinking, imagination and, to some extent, creativity. They try to combine parts of individual characters, animals, make trees speak, and so on. This is where the creativity of children comes into play.

There is also creativity in music lessons. Often, dance teachers turn on music and allow children to move freely to the music. How many different and interesting things do children do in these types of classes. Often dance performances are made from the same movements that the choreographer saw during the children's free dance.

The creative thinking of children is very different from that of adults. Differences find a place not only in a smaller store of knowledge and little experience, but also in the absence of many stereotypes that shackle people. Therefore, it is worth taking a closer look at the products of children's creativity, sometimes you can find something really new and unusual there.

Thus, we can say that creativity is one of the most important and interesting topics for study. Creativity and creative activity are integral parts of human life, creativity can manifest itself in everything: in leisure, in work, in conversation, etc. The creativity of children cannot be expressed in absolutely everything, but it also has a place to be. At first, children are taught creativity, they are taught the types of creative activity, and then, as the child develops, his mental processes, creativity and creative activity begin to manifest themselves, not only in special classes. And the creativity of children, sometimes, has no boundaries. The main types of children's creativity can be considered: choreography, visual, musical creativity, play, writing fairy tales and poems, fantasizing. And the development of all of them is possible only under the condition of the normal development of the main areas of creative abilities, such as imagination and thinking. But thinking is not reproductive, but creative. Only with the normal development of these areas can we talk about creative abilities. And the tendency to one of the types of creative activity indicates the preference and predisposition of the child. And on the basis of the characteristics of creative activity proposed by N. A. Vetlugina, the following criteria for the development of creative abilities characteristic of each age can be distinguished:

• 1. interest in creativity and creative activity;
• 2. active participation in organized creative activities;
• 3. independent creative activity;
• 4. And for older children, there is also a manifestation of creative initiative.

The presence of all these criteria in each age period indicates that the development of creative abilities corresponds to normal development. The absence of one of these criteria tells us that it is worth taking a closer look at the development of this child, perhaps the child needs the help of an adult in the development of certain prerequisites for creative activity.