Features of the creative activity of a younger student. Thesis: The development of creative abilities of younger students in the lessons of literary reading Thematic planning of the course "Lessons of creativity"

Collection output:

DEVELOPMENT OF CREATIVE ABILITIES OF YOUNGER STUDENTS

Kondratieva Nika Valerievna

post-graduate student of FSBEI HPE “Chuvash State Pedagogical University named after I.I. AND I. Yakovlev, Russian Federation, Cheboksary

E- mail: nikpnd@ gmail. com

THE DEVELOPMENT OF CREATIVE ABILITIES OF YOUNGER SCHOOLCHILDREN

Kondratyeva Nika

postgraduate studyChuvash State Pedagogical University I.J. Yakovlev», Russia, Cheboksary

ANNOTATION

The article is devoted to the actual problem of the development of creative abilities and creative thinking of younger schoolchildren. In the course of its writing, an analysis of the points of view of scientists, teachers and psychologists was carried out, and ways to solve this problem were developed. The article will be useful to students of pedagogical universities, psychologists, teachers lower grades, leaders of creative circles, methodologists. Development of creative abilities of younger students - important aspect pedagogical activity and an important component of the harmonious development of children of this age.

ABSTRACT

The article is dedicated to the actual problem of development of creative abilities and creative thinking of younger schoolchildren. In the course of writing was hold a detailed analysis of the points of view of scientists, educators, psychologists regards to development of creative abilities, were developed the solutions to the problem. Article will be relevant and useful for future teachers, psychologists, teachers of junior classes, art classes’ leaders and methodologists that make up the program of training of younger schoolchildren.

Keywords: Creative skills; personality; development; pedagogy elementary school; psychology of younger schoolchildren; development problem.

keywords: creativity; personality; development; pedagogy of primary school; psychology of younger students; the problem of development.

The development of a child's personality begins from infancy, but conscious socialization and personal adaptation begins at the age of 2-3, when the baby begins to actively explore the world. During this period, the main authorities are the parents. It is the parents who lay the first foundations for the socialization of children and develop their creative abilities, as well as prepare them for communication in preschool institutions - kindergartens and circles. The next period of development of the child's personality is the period from 3 to 7 years. At this time, the preschooler visits kindergarten, communicates with his peers, another authority that influences the worldview of the child besides the parents becomes the educator, therefore, specialists in preschool institutions should take this into account and use such a method of raising children and developing creative abilities in order to productively and correctly prepare the child for school. The third period of development of children is from 7 to 12 years. At this time, the main personal characteristics, which will further affect adolescent development and overcoming the so-called "difficult age". In our opinion, this is the most important period in the development of creative abilities.

Creativity can be described as the activity of a child, as a result of which something new is created, which characterizes its creator from an unexpected side, and also allows you to acquire new knowledge and apply previously acquired ones.

Many researchers, such as V. Zenkovsky, D.N. Nikandrov, Z.I. Ravkin, V.A. Slastenin and some others, come to the conclusion that creativity and creative abilities are organically inherent in children's nature, since the child "invariably strives for creativity, using all the means available to him" .

Exists a large number of researchers' points of view on the problem of developing the creative abilities of younger schoolchildren.

For example, V.I. Andreev, G.S. Altshuller, M.I. Makhmutov, T.V. Kudryavtsev, A.M. Matyushkin, E.I. Mashbits, A.I. Uman, A.V. Khutorskoy and some others argue that the creative abilities of primary school children can be developed by creating problem situations, in the process of performing creative tasks, as well as developing personal orientation.

Children from early school age should show independence, develop thinking, self-realization. Teachers and parents should in every possible way encourage the initiative of the child, and also guide him, but not with orders, but with friendly advice, remembering that they are already indisputable authorities for children at this age. In the future, the development of such qualities will greatly help in the further socialization of a schoolchild, a teenager.

Strategy modern education is to give "the opportunity to all students, without exception, to show their talents and all their creative potential, which implies the possibility of realizing their personal plans and interests" .

Vygotsky L.S. in his writings, he claims that the basis of any creative activity is experience. To do this, parents, teachers of elementary grades should in every possible way encourage the child in his independent knowledge of the world around him, of course, under strict unobtrusive guidance. As L.S. Vygodsky, teachers are responsible for the development of creative abilities of younger students, they must stimulate the development of creative abilities, direct development in the right direction, and also create an environment that requires creative abilities, but at the same time provides opportunities for their manifestation.

Creativity needs to be developed, giving complete freedom of action, without insisting on the obligatory manifestation of them. A creative approach to solving a particular problem should be encouraged and supported in every possible way. As L.S. Vygotsky, it is important to direct pedagogical work towards the development of the imagination of younger students, since this quality will be necessary in the further development of the child's personality and his active socialization in society.

Academician L.V. Zankov also gave not the last place to creativity in the educational program for younger students. In his works, he argued that it was necessary to teach younger students music, fine arts, literary reading, and in every possible way to develop and encourage their creative abilities. At the same time, it is necessary to encourage children to independently search for information, create a positive emotional and creative mood in the classroom, and also, with the help of art, teach such subjects that, it would seem, have nothing to do with creativity, for example, mathematics. This is possible with the help of special textbooks and didactic materials in which you can draw, come up with problems yourself with your favorite characters of younger students, give an answer to the question of the problem by coloring objects or their images. A child of primary school age gains knowledge, but at the same time acquires the skills of independent thinking, creative perception of surrounding objects, and also develops his creative abilities. Psychologists and teachers should teach younger students critical, creative thinking, independence.

The problem of developing the creative abilities of younger schoolchildren was considered not only by domestic, but also by foreign scientists, in particular D. Reznulli and H. Passov.

D. Reznulli in his writings develops the idea that the curriculum of younger students should contain all aspects in order to develop the creative abilities of students. In particular, take into account the needs and desires of each child individually, focus on the individual abilities of younger students, and also not limit their need for a more detailed study of a particular issue of interest to them.

The American scientist H. Passov, who developed not a single curriculum, paid special attention to the abilities of children for creativity and creative thinking, and also provided for the development of the creative abilities of younger students through school curriculum. It is necessary to encourage every manifestation of creativity in any subject, as well as the desire to learn new things, initiative and independent thinking.

The creative abilities of younger students differ from the creative abilities of older students and adults. For younger students, creativity is part of the creation of personality, the development of aesthetic concepts and perception, as well as a means of self-expression.

Creativity determines the character of children, develops in them independence, dedication to what they love. As a result of creative activity, speed of reaction, resourcefulness, and originality of thinking develop.

At the same time, however, younger students in their creative activities are often guided by what they have already read in books, seen in films or in life - as their parents and peers do, so teachers and parents need to be an example of creative behavior for their students and children of primary school age.

The choice by children of primary school age of certain life phenomena, characters, lines of behavior is reflected in their creative activity, therefore, by analyzing the reflection in drawings, in verbal or dance creativity, one can judge the psychological and creative development of a younger student.

Scientists A.G. Gogoberidze and V.A. Derkunskaya note that creativity allows the child to discover himself, new in himself. They considered the results of the application of creative abilities as the results of expressing the inner world of a younger student, his values. Thus, the child opens his inner world surrounding .

According to E.I. Nikolaev, the manifestation of creative abilities depends on the individual qualities of students, as well as the originality of the activity in which one can show creative abilities.

ON THE. Vetlugin and T.G. Kozakova argued that creativity and creative abilities should develop freely, but under the reasonable, sensitive guidance of teachers and parents. The creative abilities of younger schoolchildren should and can develop only in a free atmosphere, without coercion, on the principles of interest and independence of the child. At the same time, for primary school age, in addition to the subjective side of creative activity, which manifests itself in the form of knowledge of properties and relations in the objective world, procedural or plot-role-playing games, productive activities such as drawing, designing, the child’s independent setting of cognitive and research tasks, the formulation hypotheses, independent search for their solutions.

Scientists A.N. Luca, V.T. Kudryavtsev, V. Sinelnikov and others distinguish the most significant creative abilities inherent in, among other things, younger students:

· creative imagination;

the ability to see the whole before the particular;

the ability to apply previously acquired skills in new conditions;

Flexibility of thinking

the ability to visualize the general trend or pattern of development of an integral object, before a person has a clear idea about it and can fit it into a system of strict logical categories;

the ability to incorporate newly perceived information into existing knowledge systems;

The ability to independently choose an alternative;

· Ability to generate ideas.

However, creativity develops only within the framework of children's activities, so it is necessary to encourage the participation of younger students in various creative teams or any other activity related to creativity.

However, in modern educational institutions, in particular in schools, do not always take into account the individual abilities of each student, and the curriculum is calculated for the "average student", so the creative abilities of some younger students simply do not develop.

There are many programs designed to develop children with learning difficulties or disabilities. mental development However, there are practically no implemented programs that are designed and develop creatively developed, gifted children who have a high level of development of creative abilities.

All training should be built on the basis of taking into account individual abilities, personality traits each child, and to develop creative thinking younger students, thereby preparing them for further independent decision-making in adolescence and adulthood.

Studies by psychologists and educators show that in the absence of programs for the individual development of younger students, creative abilities may not develop or may be completely lost due to the wrong approach to the development of the child's personality. As a result, this can lead to problems in the socialization of the child, as well as the lack of own opinion. A talented, creative person must be developed and supported in everything.

The experience of foreign research and the practice of early detection of giftedness in children and students indicate the need to create a special state program that ensures the intensive development of research and the use of accumulated practical experience in identifying gifted and talented younger students and developing their creative abilities.

As a result, we can conclude that the development of creative abilities of younger students is an important aspect of pedagogical activity and education of children of this age. They must become active, independent, be able to make decisions, creatively approach problem solving, which is necessary for further successful socialization in society.

Bibliography:

1. Altshuller G.S. Finding an Idea: An Introduction to Decision Theory inventive problems/ G.S. Altshuller. 2nd ed., add. Novosibirsk: Science. Sib. otd., 1991. - 225 p.
2. Andreev V.I. Pedagogy: textbook. course for creative self-development / V.I. Andreev. 2nd ed. Kazan: Center innovative technologies, 2000. - 608 p.
3. Aikina L.P. Essence and specificity of creative abilities of younger schoolchildren // World of science, culture, education. - 2011. - No. 5 (30). - pp. 6-8
4. Vygotsky L.S. Imagination and creativity in childhood: a psychological essay / L.S. Vygotsky. M.: Enlightenment, 1991. - 93 p.
5. Gogoberidze A.G. Theory and methods of musical education of preschool children / A.G. Gogoberidze, V.A. Derkunskaya. M.: Academy, 2005. - 320 p.
6. Zankov L. V. Selected pedagogical works/ L.V. Zankov. 3rd ed., supplement. M.: House of Pedagogy, 1999. - 608 p.
7. Zenkovsky V.V. Psychology of childhood / V.V. Zenkovsky. M.: Academy, 1996. - 346 p.
8. Kudryavtsev V.T. Diagnosis of creativity and intellectual readiness of children for developing school education / V.T. Kudryavtsev. M.: RINO, 1999.
9. Matyushkin A.M. Problem situations in thinking and learning / A.M. Matyushkin. M., 1972. - 168 p.
10. Nikolaeva E.I. Psychology of children's creativity / E.I. Nikolaev. St. Petersburg: Piter, 2010. - 232 p.
11. Leites N.S. Psychology of giftedness in children and adolescents / N.S. Leites. M.: Academy, 1996. - 416 p.

DEVELOPMENT OF CREATIVE ABILITIES OF JUNIOR SCHOOLCHILDREN IN THE LESSONS AND OUTSIDE TIME.

• Introduction.
• Creative games in the classroom.
• Literary creativity.
• Creative tasks for the development of individual abilities.
• How do I develop creativity outside of school hours.
• Literature.

Introduction.

Do you want your children to be

able and talented?

Then help them make the first

steps on the steps of creativity,

but... don't be late and helping...

think for yourself.

B.P. Nikitin

School is a world of youth, hopes and joy, where the soil for creative activity is most favorable and where the spiritualizing search for reason and goodness does not fade away. Being in constant search, trying to be creative in the educational process, I, as a teacher, want to see in each of my students a future singer, artist, writer, artist or just a kind, loving person. From the very first days of training, I try to create an atmosphere of creation and creativity in the children's team, I help to reveal the abilities of each of my students. To do this, literally from the first days, I teach my first-graders, with a single theme for all, to complete tasks in their own unique version, thereby developing independence, activity, initiative, i.e. qualities that accompany creativity and determine the development of creative abilities.

This cannot be said to be a smooth process. At first, problems and difficulties arise due to the fact that not every child is open to creativity, for example, due to underdevelopment of attention and imagination. In order to correct these shortcomings and activate the work of all children (even the weakest), I try to introduce into the lesson such forms of work that would not only develop, encourage creativity, but would be accessible and interesting to everyone. The task of the teacher is not to search, but to think about improving all methods and teaching methods aimed at active creative learning, to choose those that are capable of giving the greatest and most lasting results with the least effort.

How to teach a child to learn, how to “bring” a student to creativity?

We must not miss a single opportunity to reveal the abilities of our students. Each teacher, based on the experience and individual characteristics of students, can make a large list of techniques and methods. I found the answer to this and many other questions in the use of problem-based learning technology.

At the heart of the conscious act of teaching lies the ability of a person to productive (creative) imagination and thinking. Moreover, with a low level of development of these processes, neither successful learning nor successful self-learning is possible. But it is they who determine the development of the creative potential of the individual. The success and confidence in learning depends on how the teacher can help to reveal the individual abilities, qualities and talents of each. Problem-developing learning helps to take a fundamentally important step towards the formation of learning motives and cognitive interests.

This technology helps to increase the learning motivation of schoolchildren, their cognitive interest, it turns even the most shy, withdrawn children into active, self-confident and self-confident students. This technology allows the teacher to reduce the time for studying many topics, and devote the freed time to “immersion” in the subject. Constant systematic work on this technology will help improve learning outcomes (after all, self-acquired knowledge is more durable!).

Where to start? From creating a problem situation in the lesson! Try to go through this stage with your students, and I'm sure you won't be able to stop there! As didactic tool, which ensures the development of students' thinking in the process, are educational tasks. If a learning task creates a problematic situation, then it is called problematic. The functions of cognitive tasks are diverse. They help the student to understand educational material consolidate the acquired knowledge, develop the qualities necessary for research activities master the techniques of thinking, learn to apply knowledge in a new situation. But the concept of "problem situation" cannot be considered in isolation from the child. If he does not understand the task, cannot isolate the unknown and perform the necessary mental operations, then the task is not problematic for him. It is not so even if he easily copes with it, using the methods of action already known to him. Therefore, to create a problem situation, it is necessary to take into account its structural composition, that is, all its components: the need to perform such an action, in which there is a cognitive need for a new, unknown method or condition of action; the unknown, which should be revealed in the problem situation that has arisen; the student's ability to complete the assigned task, to analyze the conditions and discover something new. When including problematic tasks in the lesson, two points should be paid attention to.

1. Knowledge can be offered to students in the form of a sample known to the teacher, which the student must remember and reproduce, and then work out the appropriate skills and abilities. I will give a number of examples of creating a problem situation in mathematics lessons.

For example, in the lesson “Written addition of the form 45 + 23” (second grade), the task is proposed as follows:

• Can you add two digit numbers?
• Add the numbers 45 and 23 using the mental calculation technique. How will you reason?
• Did you know that there is such a form of notation in which units are always added first, and only then tens? In addition, this form of notation saves time on calculations and takes up less space.
• Do you want to know what this record is?

2. In another case, the student is included in the activity, the process of which he needs to master new knowledge and he himself or with the help of the teacher "discovers" the new.
For example, in the lesson “Addition within 20 with a transition through a dozen” (second grade), the teacher offers the task:

Find the unknown number of the second equality using
top line examples:

9 + 3 = 12 6 + 8 = 14

9 + 2=... 7 + 8 = ...

• How else can you solve the examples of the second line?(Using a numerical segment, using an addition table)
• Is it possible to use the listed methods, for example, when shopping in a store? Why?(We have dealt with such examples before, A in a life situation there is neither an addition table nor a numerical segment)

How to be in such a situation?(Find a new way to solve)Thus, the problem task is a necessary component of the learning process, the purpose of which is to develop the student's thinking. Performing a motivational function, problem tasks allow you to repeat previously acquired knowledge, prepare students for mastering new material and formulate a problem, the solution of which is associated with the "discovery" of new knowledge.

You can start studying the topic “Dividing a sum by a number” with the following task:

Guess what rule the expressions are written in each column. Calculate their values:

54: 9 63: 7 78: 8

(36+ 18): 9 (49+14): 7 (24+ 48): 8

36:9 + 18:9 49:7+14:7 24:8 + 48:8

On the one hand, the task is clear to students and they can begin to complete it. On the other hand, it is associated with the study of something new, which is not yet known to students. The task only prepares students for the "discovery" of this new one. In the context of new knowledge, it becomes possible to repeat previously studied material. Of course, not all students can, after completing this task, independently formulate the property of dividing a sum by a number. Therefore, students are invited to write down columns of expressions according to the same rule for cases 36: 4, 48: 6, etc. Awareness of the mode of action allows students to independently represent the numbers 81, 72, 45 as the sum of two terms, each of which is divisible by 9 (new task).

It would seem that the mode of action is clear. But you can offer students a task that confronts them with a new problem.

How are the expressions in each pair similar? What is the difference?
(24+48):8 (42+14):7 (36+18):9

(22+50):8 (40+16):7 (34+20):9

Analyzing pairs of expressions, students find that in the first expression of each pair, you can use an open method of action, but not in the second expression.

The problems do not end there, and students are offered the following task.

Which of these numbers can be written as the sum of two terms, each of which is divisible by 6, and which cannot: 36, 48, 52, 28, 24, 38, 56, 6?

The task again creates a problem situation in which all the necessary components are present.

When creating a problem situation, the teacher must remember that if the task is formulated without taking into account the knowledge of students, their age characteristics, this will necessarily lead to a loss of motivation for learning. Only a problem situation correctly created by the teacher provides intellectual development students, educates them in volitional qualities, independence, activates and develops the emotional sphere and imagination.

If you take the time to master the skills of creating problem situations, you will be rewarded with the fact that the desire to understand a new problem will appear even in those students from whom you did not expect it.

Creative games in the classroom.

One of the most fertile forms of creativity has been and remains the game.Psychologists define play as a leading activity in preschool age. In it, the child is activated as a person, through the game he learns the world. At primary school age, the role of the leading activity passes to teaching, to learning activities. This transition should not be abrupt, so game techniques can be successfully applied throughout the entire education in elementary school. Another thing is that the game should correspond to the age of the children, be exciting and, most importantly, promote mental and spiritual development, i.e. must be creative.

In the primary grades of a modern school, one of the effective methods that actively influence cognitive activity students, on their emotional sphere, is a creative game. It contributes to the creation of an emotional mood among schoolchildren, causes a positive attitude towards the activities performed, improves overall performance, makes it possible to repeat the same material many times without monotony and boredom, and achieve its lasting assimilation.

The game is a familiar activity for children of primary school age. They are actively involved in interesting game distributing roles among themselves. they try to achieve the best results, rejoice in victory, are upset because of defeats. Children live for play. The teacher needs to widely use this interest, put it at the service of the educational process, develop the creative potential of each student in the game.

It should be noted that a teacher who is creative in his work sees in the student not only an object of influence, but also a partner, an ally in the creative process. But it is the game that can help create an atmosphere of partnership and mutual respect in the classroom, strengthen the child’s faith in their own strengths, give them a taste of victory, both personal and collective.

The use of creative play in elementary school lessons helps, to one degree or another, to remove a number of difficulties associated with memorizing the material, to study and consolidate the material at the level of emotional awareness, which undoubtedly contributes to the development of cognitive interest in subjects. It is also important that creative play in the classroom contributes to the enrichment of students' vocabulary and broadens their horizons. It carries a huge emotional charge, solves not only general educational and developmental tasks, but also brings up the qualities of a creative person: initiative, perseverance, purposefulness, the ability to find a solution in an unusual situation.

Didactic and creative games have common roots, since the methods of their preparation and conduct are similar: the presence of certain visual and handout materials, dividing children into groups or teams, setting a game task, identifying the winner or winners.

To teach a child to think independently, to defend his point of view is the main task of a creative game.

Its effectiveness largely depends on the emotional attitude of the teacher to the course of the game, on the interest in its results. In addition, not all students learn the rules at the same time, so the teacher can help them during the game.

However, this help should be as hidden as possible from other students, so that everyone - both the weak and the strong - has the impression of the equivalence of their participation. The task of the teacher is to create a situation of success for each child, to help him open up to the fullest.

Any creative game can be used repeatedly. In order for interest in it not to decrease, it can be modified by replacing equipment (new objects, pictures, symbols are introduced) or by introducing new rules. It is also useful to involve the students themselves in this process: let them show their imagination and change the game, or maybe create a new one, they will play not only in the classroom, but also outside of school hours.

I will give a number of examples of such creative games in Russian lessons

language.

1. Task: write letters into the cells so that you get a word (according to the given rules).

First, you need to give each student the opportunity to come up with their own words, encouraging each new option.(tank, brother, barrel, brotherand etc.). Then you can complicate this game by asking the children to select words for only one part of speech, or on a given topic, or on some spelling rule, etc. When this game is fully mastered by children, you should move to a new, more difficult level.

(Lamp, paw, ray, lemon and etc.)

(Stork, vase, crane, tire and etc.)

It is impossible to even imagine how many such games children can come up with. The main thing is that none of them go unnoticed. The most interesting ones can be included in the lesson, others can be hung out in the classroom in a conspicuous place, let the children play after school hours, in a more free environment.

The next type of such a multifaceted creative game in Russian language lessons can be the game "Extra Word". The essence of this game is that from a number of words, students first need to remove one “extra word”, substantiating their answer, then from the remaining words one more, then one more, until two or three “necessary words” remain. This game is useful in that students involuntarily have to compare the proposed words according to various criteria: lexical meaning, composition, grammatical features, etc. - which leads to the development of the listed concepts.

The teacher can play this game repeatedly when studying any topic and at any stage of the lesson, the main thing is that it matches the goals and fits organically into the structure of the lesson.

Another example of creative play is creating your own font or code. The simplest option is to simply duplicate each letter of the Russian alphabet with your own icons and encrypt your text with these "letters". A more complex option involves changing some fundamental feature of the letter, for example, depicting a capital letter with the same icon as a lowercase letter, but with a dash at the top.

The most difficult version of this game, schoolchildren are given a text encrypted in an unknown way from a literary work.

Knowing the text, students must solve the cipher, and then use the guessed font to write down the text that they themselves will compose.

And what a scope for children's imagination opens up a game for inventing their own words, necessarily motivated, i.e. related to real words. For example, when studying the topic: “Compound words”, you can invite children to come up with their own words, continuing the series, then determine the meanings of the selected words: samolet, dump truck, scooter ... (self-carrier, self-propelled, self-jumping and etc.)

Or, when studying the topic “Proper Names”, ask the children to come up with their own nicknames for animals, displaying their appearance or habits:goat Bodula. rooster Screamer, dog Layushka, horse Swift-footed, lamb Curly and etc.

Literary creativity.

Of all forms of creativity, literary, verbal creativity is characteristic of school age. It is well known that at an early age all children go through several stages of drawing.

Drawing is a typical creativity of an early age. At this time, children draw willingly, sometimes not awakened by any of the adults; sometimes the slightest stimulus is enough for a child to start drawing. At this time, drawing is a favorite pastime of children. The creative forces of the child focus on drawing is not accidental. It is drawing that provides the child with the easiest way to express what he owns. By the beginning of school age, love and interest in drawing begins to wane, and for many children it disappears altogether. It is very important not to miss this moment and arouse in children an interest in drawing. Very often in the classroom I give the children assignments: draw an illustration for a passage they like, draw environmental signs that you would put in your own school, village, etc. (see appendix). The child draws and at the same time talks about what he draws. Another method of developing literary creativity is theatricalization. The child dramatizes and composes the verbal text of his role.

The child's "unconstrained word", open dialogue in the classroom, free thought are indispensable conditions for children's creativity. The lessons of reading, the world around us, Cuban studies are suitable for an open dialogue. In the first years of schooling, a child learns to navigate in a speech stream, to distinguish between sounds and letters, to distinguish text from a set of sentences, and acquires the skills of correct and conscious reading. Acquaintance with reading begins with the first literacy lessons, in which I use different poetic material. For example:

Look at the gate:

Why is it not the letter I?

Between two straight boards

One lay down.

V. Stepanov

T turned into an antenna

And I found myself on the roof.

A. Shibaev

With the help of counting rhymes, tongue twisters and tongue twisters, students get acquainted with the concept of "rhyme".

Sha-sha-sha-

Mom is washing the baby.

Ta - ta - ta -

Our house is clean.

The students are able to do the creative tasks proposed below for the selection of rhymes.

In our house on the window

Sitting gray ... ________

Bear cries and roars:

Asks the bees to give ...

With great pleasure, students complete the task in which they need to continue the poem, for example:

Continue lines:

Spring, spring outside

Spring days!

Such tasks help to identify children who are prone to intellectual creative work, capable of versification.

A properly organized reading process includes the work and creativity of the reader: while reading, he actively reacts to the actions of the characters, evaluates them, compares them with his own actions and actions, recreates them in his imagination, participating in co-creation.

Reading activity involves the correct organization of perception, memorization and reproduction of the text being read. And how the process of working with the text is carried out: purposefully or spontaneously, creatively or formally, whether it awakens emotions and an active attitude to what is being read, depends on what the reader will become.

At present, the most developed methodological direction in teaching reading is the formation of correct reading activity in students. Correct reading activity is "a three-stage process of purposeful individual comprehension and development of books by children (before reading, in the process of reading, after reading)".

First, preparation for the perception of the text is carried out. It is in the nature of a preliminary orientation. Students read key words and phrases, the title of the work, the last name of the author, written on the board, look at the illustrations and make assumptions about the content of the text.

Work in the process of reading is aimed at comprehending the text at the level of content. The text is read in sentences, paragraphs, parts. In the course of reading, clarifying questions are asked for initial perception and understanding of what is read.

At the third stage of working with the text, it is necessary to achieve understanding at the level of meaning. Here the ability to understand, remember and reproduce what is read is formed. With the help of these skills, a deep, full perception of the work is carried out. Students also perform creative tasks - illustration, word drawing, inventing a continuation, compiling a filmstrip, staging.

Such a “three-step process” of working on a work allows you to build a reading lesson in such a way that the identification of knowledge and learning merge into a single process, and the study of the new is based on already known knowledge, based on the life experience of a small reader.

As the reading experience accumulates, students more actively enter into a dialogue with the teacher and with each other.

Coming into contact with the work of poets and writers, joining the great works, students learn to love and understand what they read. And the love of reading is the beginning of the development of one's literary abilities.

Discovering the secret of the living Russian language, performing creative tasks, students gain the first experience of literary creativity and versification.

Literary, verbal creativity is characteristic of primary school age. Its meaning is important for the child himself, and not for literature, it is necessary for the development of the powers of the little author. Children's literary creativity can be stimulated and directed from outside. The best stimulus is such an organization of the life of students that creates needs and opportunities for children's creativity. This is facilitated by a free atmosphere in the school and classroom, trust and respect on the part of the teacher, providing students with independence, attention to the interests of each student, to his inclinations, health, versatile development and abilities.

Creative compositions, presentations.

I give a special place in the educational process to work on essays, since I believe that this is an invaluable material not only for the development of students' written speech and the formation of literacy, but also for the formation of the personality as a whole (creative thinking, emotional and volitional spheres). Essays on various subjects allow you to view the dynamics of growth in the development of the creative abilities of students, to learn not only the inner world of the child, but also his interests, the degree of his observation, are an indicator of the overall development of the child. When working on an essay, I never give children a finished sample, so the compositions of all children are different, and when analyzing, I focus the attention of children on the best works, on vivid expressions, comparisons. I never read unsuccessful essays in class, but work with children individually.

IN school essays distinguish between narrative, description, reasoning. Compositions in elementary grades are rarely kept in the pure genre of narration, description and reasoning. Most often, in elementary school, essays are mixed works.

The story tells about successive events connected with each other. The works of this genre may have a plot, in which case they are close to stories of the literary genre.

Narration is the most mobile, lively and therefore the most accessible genre of compositions for children (“A walk in the forest”, “What I see from the window”, etc.). The essence of the description is to indicate the signs of objects or phenomena.

The purpose of the description is to give the most complete, accurate information about the subject, phenomenon (“In the forest in autumn”, “My cat”, etc.).

Reasoning is a coherent text in which judgments, comparisons, examples are used to prove a statement, leading to conclusions (“What do I dream of becoming”, “If I were a magician”, etc.)

Children write various essays: description, reasoning, compose fairy tales, etc. The subjects of the compositions are diverse: For example: “Letter to the Governor”, ​​“Journey of a Snowflake”, “Why Do We Need Toys”, “This is a great word - mother”, “I love my land”, etc.

The role of composition in elementary school is immeasurably great. What has been done in the lesson to teach children to express their thoughts correctly and sensibly, to argue and prove, to defend their opinion in various life situations? This question should always, at all lessons, be faced by every creatively working teacher.

The development of the skill of independent creative work is the task of a teacher in elementary school. This creative process includes the stage of teaching presentation in the lessons of the Russian language and reading. There are a number of conditions that it is useful for the teacher to fulfill:

• Presentation training is carried out using the necessary visualization and technical teaching aids to create an appropriate atmosphere for creative work;
• In grade 2, read the text more slowly, and in grade 4, read at normal speed, reading the text not 3 times, but two;
• Maintain an atmosphere of goodwill and trust;
• Create a non-judgmental climate of relationships (compare work!).

An indicator of the overall development of the child are also essays, research papers of students in various subjects. I form the research activity of students starting from the 1st grade. Children choose the topics of research papers on their own, with ready-made papers they perform in the classroom and after school hours.

For the implementation of a full-fledged educational process, I have created a lot of various didactic material in all subjects: handouts for group and individual work in the lessons of the Russian language and mathematics, tasks for the development of speech, logical thinking, memory, attention were collected, multi-level tasks for lessons were developed, tests in subjects, cards for vocabulary work, the best essays and student research work.

In each lively and direct story, statement, essay, children's inquisitiveness, curiosity, love for the world around them, simplicity and sincerity are reflected. This is how it is formed new person, personality, and my task is not to let this spark fade away.

Creative tasks to reveal the individual abilities of students.

The success and confidence in learning depends on how the teacher can help to reveal the individual abilities, qualities and talents of each child. Here the children themselves can be of great help if they know more about themselves, about the peculiarities of their attention, memory about the ability to communicate. In solving this problem, I am helped by a set of creative tasks that require an individual solution, the ability to realize my “I”. They can be performed on all subjects. Here are some of them.

1 task.

Do you remember where you had to watch animals?

• Now let's play the Animal Theatre. Imagine some kind of animal and try to portray it: here it moves, here it listens, eats, drinks, makes its own sounds. (One student portrays, the rest try to find out what kind of animal it is, substantiating their assumptions.)
• Now let's think about how the habits of wild animals (animals) differ from the habits of domestic animals? (Children justify their observations.)
• Can you draw your favorite animal and give it a name? Who has pets at home?

At home, it is proposed to observe the habits of domestic animals or the habits of animals in the zoo in order to describe them in detail in a week.

2 task.

Let's share our thoughts with each other. Tell me what you feel or imagine when you hear the words day and night. (Children's answers are heard.)

Now let's get on with the work. Draw pictures if you like. We will call one "Day", the other - "Night".

Day Night

• Now let's see what you got. (Exchange of drawings, discussion of them.)

• What colors did you choose? Why?
• And now let's play. Match the group of words that come to your mind when you hear the word day Night)! (You have 1 minute to think.)
• Let's see what you got? Who wants to read or speak? (Read the options.)

Who managed to write down (or say) more words? It remains for us to remember what sounds you hear during the day? And at night? (Then everyone is given a piece of paper with a picture of a blot.)

What animal does she look like? Is it possible to draw it to some animal?

The guys write their stories-assumptions - about an animal that resembles a blot.

3 task.

Almost every day you hear the words water, air. How are they similar? Do they have something in common? What is the difference? How can you draw them?

Children draw, then the drawings are discussed. The brightest ones are selected.

What sounds do they affect you? Tell, share with others.

Now close your eyes and try to imagine that you are in the water, what do you feel? (Children's answers.) And when there is air around you, what do you feel? Try to talk or write about your feelings.

What is water like? What is air like?

__________________ ____________________

__________________ _____________________

Close your eyes and imagine that you have hot air in the palm of your hand. Why does it come out? Now tell me, how would you feel if ice water was running down your back?

Children share their feelings.

When are air and water harmful to humans?

Various versions and hypotheses are discussed.

• Now remember what you hear when a bicycle tire or ball chamber goes down? What's happening? (Children's stories are heard.)
• Where does a person use water, what is air needed for? What do they serve us?

Such tasks help to reveal individual abilities, help the child to open up and show creativity.

Conclusion.

Children's creativity is inexhaustible, the nutrient medium is a sense of mystery that one so wants to unravel. In order to awaken creativity in children, you need to create this nutrient medium, sow the seeds of creativity in the souls of children, and they will certainly give excellent shoots. It is necessary to become a comrade and friend for your students, since team methods do not work, here the effect is achieved on the basis of dedication. The main stimulus of creativity is the great joy that it gives to both the student and the teacher.

Every child has abilities and talents. Children are naturally curious and eager to learn. All it takes for them to show their talents is smart guidance from adults.

The problem of developing creative abilities is multifaceted and difficult. Creativity is understood as something that does not come down to knowledge, skills, but explains their rapid acquisition, consolidation and use in practice.

Conditions effective development creative abilities of younger students.

• Choice situations are created, the learning process includes tasks that are performed taking into account the imagination;
• Co-creation is organized in the children's team from the whole manifestation and development of the creative abilities of everyone;
• Technologies for the development of creative thinking are used;
• The diagnostic results are systematically monitored.

Every child has different kinds of gifts. Of course, not all children have the ability to compose, imagine, invent. And yet, the talents of each person can be developed. Incentives are needed for their development.

Ways to stimulate creativity.

• providing a favorable atmosphere;
• goodwill on the part of the teacher, his refusal to criticize the child;
• enrichment of the child's environment with a wide variety of new objects and stimuli for him in order to develop his curiosity;
• encouraging the expression of original ideas;
• providing opportunities for practice;
• using a personal example of a creative approach to solving problems;
• giving children the opportunity to actively ask questions.

The importance of developing the creativity of a younger student, his ability to take initiative, invent, and independence in solving any educational problem is now obvious to everyone. Correlating the process of creativity and learning, obviously, we need to talk about creating such conditions that would contribute to the emergence and development of all trainees' qualities and inclinations, usually distinguished as character traits creative personality. The effectiveness of the school is determined by the extent to which the educational process ensures the development of the creative abilities of students, prepares them for life in society.

Thus, we can conclude that every child has creative abilities. It is individual - psychological characteristics that distinguish one person from another. The creative potential of our society depends on how developed they are, since the formation of a creative personality today acquires not only a theoretical meaning, but also a practical meaning. Knowledge of teachers, what is meant by the creative abilities of students, will expand the boundaries of their manifestation in children.

List of used literature:

1. Ataev. L. V. Creativity is the basis of pedagogical activity. / Primary school (plus before and after), No. 1 2005

1. Bogoyavlenskaya D.B. Paths to creativity. M., 1981
2. Borzova V.A., Borzov A.A. Development of creative abilities in children. Samara, 1994
3. Bylevskaya V. N. Development creative possibilities younger students. Primary school, 1990, No. 5
4. Wenger L.A. Pedagogy of abilities. M., 1983
5. Vygotsky L.S. Imagination and creativity in childhood. M., Education, 1992
6. Lvova Yu. L. To develop the gift of creativity. Kyiv, 1987
7. Lyashko T.V., Sinitsina E.I. Through play to creativity. Obninsk, 1994
8. Maksimov Yu.V. "Spring of Creativity". M., 1986
9. Matyushkina A.M. Development of creative activity of schoolchildren. M., 1991

1. Nechaeva N.V. Organization of literary creativity. Krasnoyarsk, 1993

Federal Agency for Education

Kuzbass State Pedagogical Academy

department humanitarian disciplines and teaching methods

Final qualifying work

Development of creative abilities of younger students in the classroom literary reading

female students of the 5th year of the 1st group OFO

Shipunova Anastasia Vladimirovna

Novokuznetsk 2009

Introduction

Chapter I. Theoretical foundations of the problem of developing the creative abilities of younger students

1.2 Analysis of practical experience development of creative abilities of younger students

1.3 Criteria and means of diagnosing the level of development of creative abilities of younger students

Conclusions on Chapter I

Chapter II. Organizational and pedagogical conditions for the development of creative abilities of younger students

2.1 Development of creative abilities of younger students in the process of performing creative tasks

Conclusions on Chapter II

Conclusion

Bibliography

Application

Introduction

The problem of developing the creative abilities of younger students forms the basis, the foundation of the learning process, is an “eternal” pedagogical problem that does not lose its relevance over time, requiring constant, close attention and further development. Today, in society, there is a particularly acute need for people who are enterprising, creative, ready to find new approaches to solving urgent socio-economic and cultural problems, able to live in a new democratic society and be useful to this society. In this regard, the problem of developing the creative activity of the individual is of particular relevance today. Creative personalities at all times determined the progress of civilization, creating material and spiritual values ​​that are distinguished by novelty, unconventional, helping people to see the unusual in seemingly ordinary phenomena. But it is precisely today that the educational process is faced with the task of educating a creative personality, starting from elementary school. This task is reflected in alternative educational programs, in innovative processes taking place in modern school. Creative activity develops in the process of activities that have a creative nature, which makes students learn and be surprised, find solutions in non-standard situations. Therefore, today in pedagogical science and practice there is an intensive search for new, non-standard forms, methods and methods of teaching. Are widely used non-traditional types lessons, problematic teaching methods, collective creative activities in extracurricular activities that contribute to the development of creative activity of younger students,

Studies of the features of the development of creative activity of a younger schoolchild were carried out in the works of L.S. Vygotsky, B.M. Teplova, S.L. Rubinstein, N.S. Leites, teachers Sh.A. Amonashvili, G.I. Schukina, V.N. Druzhinina, V.D. Shadrikova, I.F. Kharlamov and others. Among the various means of developing the creative activity of younger students, Russian language lessons and reading in the primary grades occupy a special place.

The relevance stated in the final qualifying work is determined by the need of society for creative, active people and the insufficient use of various means in the lessons of the Russian language and reading, aimed at developing creative abilities. The importance and necessity of developing the creative activity of students in the practice of primary education led to the choice of the research topic "Development of creative abilities in the lessons of literary reading."

The purpose of the study: to identify and scientifically substantiate the organizational and pedagogical conditions for the development of creative abilities of younger students in the lessons of literary reading.

Object of study: the development of creative abilities of younger students.

Subject of study: the process of developing the creative abilities of younger students in reading lessons.

Research hypothesis: the development of the creative abilities of younger students in reading lessons will be effective if:

A truly creative atmosphere is created, conducive to the free manifestation of the child's creative thinking;

The inclusion of younger schoolchildren in creative activities, in the process of which creative tasks are solved, is ensured;

The choice of forms and methods of development of creative abilities is carried out;

During the study, the following tasks were solved:

1. Determine the psychological and pedagogical essence of the process of developing the creative abilities of younger students.

2. Determine the criteria and levels of development of creative abilities of younger students.

3. To analyze the practical experience of developing the creative abilities of younger students.

4. To identify effective conditions for the development of creative abilities of younger students in the lessons of literary reading.

Research methods: study and analysis of psychological and pedagogical literature on the research problem; pedagogical observation; questioning; conversations; psychological and pedagogical experiment; mathematical processing of experimental data.

The basis of our experimental study is the MOU "Sidorovskaya General Education School".

Chapter I. Theoretical foundations of the problem of developing the creative abilities of younger students.

1.1 Psychological and pedagogical essence of the concepts of "creative activity," creative abilities "of younger students

Creativity is not a new subject of study. The problem of human abilities has aroused great interest of people at all times. The analysis of the problem of the development of creative abilities will largely be determined by the content that we will invest in this concept. Very often, in everyday consciousness, creative abilities are identified with abilities for various types of artistic activity, with the ability to draw beautifully, compose poetry, write music, etc. What is creativity really?

Obviously, the concept we are considering is closely related to the concept of "creativity", "creative activity". The opinions of scientists about what is considered creativity are contradictory. IN Everyday life creativity is usually called, firstly, activity in the field of art, secondly, design, creation, implementation of new projects, thirdly, scientific knowledge, the creation of the mind, fourthly, thinking in its highest form, which goes beyond the limits required for solving the problem that has arisen in already known ways, manifesting itself as imagination, which is a condition for mastery and initiative.

"Philosophical Encyclopedia" defines creativity as an activity that generates "something new, never before." The novelty resulting from creative activity can be both objective and subjective. Objective value is recognized for such products of creativity, in which still unknown laws of the surrounding reality are revealed, connections between phenomena that were considered unrelated to each other are established and explained. The subjective value of creative products takes place when the creative product is not new in itself, objectively, but new for the person who first created it. These are for the most part the products of children's creativity in the field of drawing, modeling, writing poetry and songs. IN modern research European scientists "creativity" is defined descriptively and acts as a combination of intellectual and personal factors. .

So, creativity is an activity, the result of which are new material and spiritual values; the highest form of mental activity, independence, the ability to create something new, original. As a result of creative activity, creative abilities are formed and developed.

What is "creativity" or "creativity"? So, P. Torrens understood creativity as the ability to a heightened perception of shortcomings, gaps in knowledge, disharmony. In the structure of creative activity, he singled out:

1. perception of the problem;

2. search for a solution;

3. the emergence and formulation of hypotheses;

4. hypothesis testing;

5. their modification;

6. finding results.

It is noted that such factors as temperament, the ability to quickly assimilate and generate ideas (not to be critical of them) play an important role in creative activity; that creative solutions come at a moment of relaxation, distraction of attention.

The essence of creativity, according to S. Mednik, is in the ability to overcome stereotypes at the final stage of mental synthesis and in the use of a wide field of associations.

D.B. Bogoyavlenskaya singles out intellectual activity as the main indicator of creative abilities, combining two components: cognitive (general mental abilities) and motivational. The criterion for the manifestation of creativity is the nature of the person's performance of the mental tasks offered to him.

I.V. Lvov believes that creativity is not a surge of emotions, it is inseparable from knowledge and skills, emotions accompany creativity, inspire human activity, increase the tone of its flow, the work of a human creator, give him strength. But only strict, proven knowledge and skills awaken the creative act.

Thus, in its most general form, the definition of creative abilities is as follows. Creativity is the individual psychological characteristics of an individual that are related to the success of any activity, but are not limited to knowledge, skills, and abilities that have already been developed by the student.

Since the element of creativity can be present in any form human activity, then it is fair to speak not only of artistic creativity, but also of technical creativity, mathematical creativity, and so on. Creativity is an amalgamation of many qualities. And the question of the components of human creativity is still open, although at the moment there are several hypotheses concerning this problem.

Many psychologists associate the ability to creative activity, primarily with the peculiarities of thinking. In particular, the famous American psychologist J. Gilford, who dealt with the problems of human intelligence, found that creative individuals are characterized by the so-called divergent thinking. People with this type of thinking, when solving a problem, do not concentrate all their efforts on finding the only correct solution, but begin to look for solutions in all possible directions in order to consider as many options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or form links between two elements that at first glance have nothing in common. The divergent way of thinking underlies creative thinking, which is characterized by the following main features:

1. Speed ​​- the ability to express the maximum number of ideas (in this case, 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.

A well-known domestic researcher of the problem of creativity A.N. Luk, based on the biographies of prominent scientists, inventors, artists and musicians, highlights the following creative abilities:

1. The ability to see the problem where others do not see it.

2. The ability to collapse mental operations, replacing several concepts with one and using symbols that are more and more capacious in terms of information.

3. The ability to apply the skills acquired in solving one problem to solving another.

4. The ability to perceive reality as a whole, without splitting it into parts.

5. The ability to easily associate distant concepts.

6. The ability of memory to give out the right information at the right moment.

7. Flexibility of thinking.

8. The ability to choose one of the alternatives for solving a problem before it is tested.

9. The ability to incorporate newly perceived information into existing knowledge systems.

10. The ability to see things as they are, to distinguish what is observed from what is brought in by interpretation. Ease of generating ideas.

11. Creative imagination.

12. The ability to refine the details, to improve the original idea.

Candidates of Psychological Sciences V.T. Kudryavtsev and V. Sinelnikov, based on a wide historical and cultural material (history of philosophy, social sciences, art, individual areas of practice) identified the following universal creative abilities that have developed in the process of human history

1. Imagination realism - a figurative grasp of some essential, general trend or pattern of development of an integral object, before a person has a clear idea about it and can enter it into a system of strict logical categories. The ability to see the whole before the parts.

2. Supra-situational - transformative nature of creative solutions, the ability to solve a problem not just choose from alternatives imposed from the outside, but independently create an alternative.

3. Experimentation - the ability to consciously and purposefully create conditions in which objects most clearly reveal their essence hidden in ordinary situations, as well as the ability to trace and analyze the features of the "behavior" of objects in these conditions.

Scientists and teachers involved in the development of programs and methods of creative education based on TRIZ (theory of inventive problem solving) and ARIZ (algorithm for solving inventive problems) believe that one of the components of a person’s creative potential is the following abilities:

1. The ability to take risks.

2. Divergent thinking.

3. Flexibility in thought and action.

4. Speed ​​of thinking.

5. The ability to express original ideas and invent new ones.

6. Rich imagination.

7. Perception of the ambiguity of things and phenomena.

8. High aesthetic values.

9. Developed intuition.

Analyzing the points of view presented above on the issue of the components of creative abilities, we can conclude that, despite the difference in approaches to their definition, researchers unanimously single out creative imagination and the quality of creative thinking as essential components of creative abilities.

The activation of creative activity is achieved, according to A. Osborne, due to the observance of four principles:

1) the principle of exclusion of criticism (you can express any thought without fear that it will be recognized as bad);

2) encouraging the most unbridled association (the wilder the idea, the better);

3) requirements that the number of proposed ideas be as large as possible;

4) recognition that the ideas expressed are not anyone's property, no one has the right to monopolize them; each participant has the right to combine the ideas expressed by others, modify them, “improve” and improve.

D.N. Druzhinin believes that in order to intensify creative activity, it is necessary:

1) the lack of regulation of subject activity, more precisely, the absence of a model of regulated behavior;

2) the presence of a positive model of creative behavior;

1. The ability to take risks.

2. Divergent thinking.

3) Flexibility in thinking and acting. creating conditions for imitating creative behavior and blocking manifestations of aggressive and deductive behavior;

4) social reinforcement of creative behavior.

The creative activity of the student increases his involvement in the educational process, contributes to the successful assimilation of knowledge, stimulates intellectual efforts, self-confidence, and fosters independence of views. M.N. Skatkin considers separate ways of activating creative activity:

1) problematic presentation of knowledge;

2) discussion;

3) research method;

4) creative work of students;

5) creating an atmosphere of collective creative activity in the classroom.

In order to successfully activate the creative activity of schoolchildren, the teacher needs to see the effectiveness and productivity of his work. To do this, it is necessary to monitor the dynamics of the manifestation of the creative activity of each child. The elements of creativity and interaction of the elements of reproduction in the activity of a schoolchild, as well as in the activity of a mature person, should be distinguished according to two characteristic features:

1) by the result (product) of activity;

2) according to the way it proceeds (process).

It is obvious that in educational activity the elements of students' creativity are manifested, first of all, in the peculiarities of its course, namely, in the ability to see the problem, to find new ways to solve specific practical and educational problems in non-standard situations.

Thus, we can conclude that creative activity is activated in a favorable atmosphere, with benevolent assessments from teachers, and encouragement of original statements. An important role is played by open-ended questions that encourage students to think, to search for a variety of answers to the same questions of the curriculum. It is even better if the students themselves are allowed to ask such questions and answer them.

Creative activity can also be stimulated through the implementation of interdisciplinary connections, through an introduction to an unusual hypothetical situation. In the same direction, questions work, when answering which it is necessary to extract from memory all the information available in it, to creatively apply them in the situation that has arisen.

Creative activity contributes to the development of creative abilities, an increase in the intellectual level.

Thus, by creativity we understand the totality of the properties and qualities of a person necessary for the successful implementation of creative activity, allowing in the process of it to perform the transformation of objects, phenomena, visual, sensual and mental images, to discover something new for oneself, to seek and make original, non-standard solutions .

1.2 Analysis of practical experience in the development of creative abilities of younger students

Improving the quality of mastering the knowledge of younger students is one of the most important tasks of the school. Many teachers achieve its implementation not due to the additional burden on students, but by improving the forms and methods of teaching. In solving this issue, teachers and methodologists attach great importance to the development of the interest of younger students in learning through the formation of creative abilities in the process of work. It is in the first years of education that, due to the psychological characteristics of children of primary school age, their creative abilities are actively developing. In particular, in order to solve the developmental learning goals, the primary school teacher A.V. Nikitina organizes the systematic, purposeful development and activation of creative activity in a system that meets the following requirements:

Cognitive tasks should be built on an interdisciplinary basis and contribute to the development of the mental properties of the individual (memory, attention, thinking, imagination);

Tasks, tasks should be selected taking into account the rational sequence of their presentation: from reproductive, aimed at updating existing knowledge, to partially exploratory, focused on mastering generalized methods of cognitive activity, and then to creative ones, which allow considering the studied phenomena from different angles;

The system of cognitive and creative tasks should lead to the formation of fluency of thinking, flexibility of mind, curiosity, the ability to put forward and develop hypotheses.

In accordance with these requirements, the classes of A.V. Nikitina include four successive stages:

1) warm-up;

2) development of creative thinking;

3) fulfillment of developing partially search tasks;

4) solving creative problems.

These assignments are given to the entire class. When they are done, only success is measured. Such tasks are not evaluative, but educational and developmental in nature. Classes are held at a fairly high pace, frontally. According to A.V. Nikitina, such work creates a spirit of competition, concentrates attention, develops the ability to quickly switch from one type to another.

Under the leadership of E.L. Yakovleva developed and tested a developing program aimed at enhancing the creative activity of younger students. The main condition for creative work, in her opinion, is the organization of interaction between children and adults in accordance with the principles of humanistic psychology:

1) Admiration for each student’s idea is similar to admiration for the first steps of a child, involving:

a) positive reinforcement of all ideas and answers of the student;

b) the use of error as an opportunity for a new, unexpected look at something familiar;

c) maximum adaptation to all statements and actions of children.

2) Creation of a climate of mutual trust, non-estimation, acceptance of others, psychological security.

3) Ensuring independence in choice and decision-making, with the ability to independently control their own progress.

When studying under this program, the principles of developmental education (A.M. Matyushkin): problematic, dialogic, individualization, were attached to the following content of the program: understanding one’s own and others’ thoughts, feelings and actions, interpersonal relationships and laws of development of the world:

1. The use of intellectual tasks that can be solved by heuristic methods.

2. Exchange of opinions and questions between members of the group, between the group and the facilitator.

3. Acceptance of various aspects of creativity: oral and written responses, responses that have a literary or non-literary form, behavior and reactions to another person.

To equip children with the means of creative self-expression, this program uses a variety of material: literary works, problem situations, dramaturgy of situations invented by children, conflict situations from life and literature, which entail the ability to recognize and express their own emotional states, respond differently to one and the same situation.

Under the leadership of N.B. Shumanova developed and tested a program for the development of creative thinking of younger students in accordance with the requirements for the construction of educational programs for gifted children:

The global, fundamental nature of the topics and problems studied by students;

Interdisciplinary approach in formulating problems;

Integration of topics and problems related to different fields of knowledge;

Content saturation; focus on the development of productive, critical thinking and so on.

The specific content of the course is based on the materials of Russian and foreign history, the history of culture, literature, art, Russian and foreign natural science. The predominant method of teaching is problem-dialogical as the most appropriate to nature creative development child .

Under the leadership of S.N. Chistyakova developed a program to develop the creative abilities of schoolchildren through the organization of group cooperation.

Primary school teacher O.V. Kubasova uses the possibilities of lessons to enhance the creative activity of younger students, adapting games and exercises to develop imagination and creative thinking on the material of school subjects and using them in the process of teaching the Russian language:

Various types of essays, presentations, creative dictations;

Construction (construction of sentences, verbal drawing, drawing up plans, words and sentences according to schemes);

Drawing up tables, diagrams;

- "discovery" of ways of word formation;

Analysis of literary works, in order to prove any assumption;

Distribution of offers;

Coming up with endings for stories;

Drawing up drawings using stencils;

Publication of newspapers, magazines, where the results of children's creativity are used (notes, interviews, reviews, essays, poems, fairy tales, drawings, rebuses, puzzles, crosswords and others);

Creation of filmstrips for literary works;

Staging, dramatization, "revival" of pictures;

Selection of characteristics (what can be a smile, gait, and so on);

Creation of visual, sound, taste images of letters;

Selection of synonyms, antonyms;

The study of phraseological turns.

As a result of the analysis of practical experience of activating the creative activity of younger schoolchildren, it was revealed, firstly, the significance of this problem for teachers, the interest of psychologists and methodologists in it; secondly, programs, courses, a series of tasks presented in the scientific and methodological literature and periodicals have been developed and tested on this problem; thirdly, the low psychological and pedagogical competence of teachers on this problem; fourthly, the lack of systematic, purposeful work to enhance the creative activity of younger students due to a lack of knowledge of techniques, means, forms of work in this direction; and as a result, low levels of development of creative activity of younger students.

1.3 Criteria and means of diagnosing the level of development of creative abilities of younger students

In order for the process of developing the creative abilities of younger students to be successful, knowledge about the levels of development of the creative abilities of students is necessary, since the choice of types of creativity should depend on the level at which the student is. For this purpose, diagnostics is used, carried out using various research methods (measurement tools). The study is carried out according to certain criteria. One of the objectives of this study was to determine the criteria, indicators and means of measuring the level of development of creative abilities of younger students. Based on the understanding of the term "creativity", which implies the student's desire to think in an original, non-standard way, independently seek and make decisions, show cognitive interest, discover new things that are unknown to the student, we have identified the following criteria for the level of development of creative abilities of younger students:

1. Cognitive criterion, which reveals the knowledge, ideas of younger students about creativity and creative abilities, understanding the essence of creative tasks.

2. Motivational - need criterion - characterizes the student's desire to prove himself as a creative person, the presence of interest in creative types of educational tasks.

3. Activity criterion - reveals the ability to perform tasks of a creative nature in an original way, to activate the creative imagination of students, to carry out the process of thinking outside the box, figuratively.

Each of the criteria has a system of indicators characterizing the manifestation of the studied qualities according to this criterion. Measurement of the degree of manifestation of indicators for each criterion is carried out using measuring instruments and certain research methods. Criteria, indicators and means of measuring the level of development of students' creative abilities, presented in Table 1.

Table 1

Criteria, indicators and means of measuring the level of development of students' creative abilities

Criteria	Indicators	Measuring
cognitive	1. Knowledge of the concept of "creativity" and operating with it. 2. The presence of ideas about creativity and creative abilities.	Testing Method "Compositor".
Motivational-need	1. Attitude towards creative exercises. 2. Development of creative abilities. 3. Striving for self-expression, originality.	observation. Method "Make up a story about a non-existent animal"
activity	1. Proposal of new solutions in the process of educational activities. 2. The manifestation of unconventional, creativity, originality of thinking. 3. Participation in collective creative activity	Observation Method of problem situations. Method "Three words"

In accordance with the selected criteria and indicators, we have characterized the levels of development of creative abilities of younger students in Table 2.

table 2

Levels of development of creative abilities of younger students

Criteria	High level	Average level	Low level
cognitive	Has a sufficient level of knowledge, good speech development.	Has an insufficient level of knowledge, concepts, ideas; average speech development.	Has a low level of knowledge, fragmentary, poorly learned concepts, speech is poorly developed.
Motivational-need	The student seeks to show creative abilities, performs creative tasks with interest.	The student is not active enough, performs creative tasks under the supervision of the teacher, but can prove himself as a creative person.	The student is passive, does not seek to show creative abilities.
activity	Shows originality, imagination, independence in performing tasks.	Demonstrates originality, unconventionality in the performance of tasks. But often the help of a teacher is needed.	Cannot create or receive unusual images, solutions; refuses to comply creative tasks

Characteristics of the levels of creative abilities of younger students

1.High level.

Students show initiative and independence of decisions, they have developed a habit of free self-expression. The child manifests observation, ingenuity, imagination, high speed of thinking. Students create something of their own, new, original, unlike anything else. The work of a teacher with students with a high level is to apply those techniques aimed at developing their very need for creative activity.

2. Average level.

It is typical for those students who perceive tasks quite consciously, work mostly independently, but offer insufficiently original solutions. The child is inquisitive and inquisitive, puts forward ideas, but does not show much creativity and interest in the proposed activity. For the analysis of the work and its practical solution goes only if the topic is interesting, and the activity is supported by strong-willed and intellectual efforts.

3.Low level.

Students at this level master the skills to acquire knowledge, master certain activities. They are passive. With difficulty, they are included in creative work, they expect causal pressure from the teacher. These students need a longer period of time to think and should not be interrupted or asked unexpected questions. All children's answers are stereotyped, there is no individuality, originality, independence. The child does not show initiative and attempts to non-traditional solutions.

After determining the levels of development of creative abilities, the first ascertaining experiment was carried out.

The purpose of the first ascertaining experiment: to identify the level of development of creative abilities of younger students in the control and experimental classes.

The experiment was carried out in the third grades of the Sidorov secondary school. Class 3a was defined as the control class, class 3b as the experimental class. Both classes consist of 20 students. Students are engaged in the system of developmental education L.V. Zankov and have approximately the same indicators of academic performance and general development. The ascertaining experiment was carried out in accordance with the criteria, indicators and means of measurement presented in table 1. The diagnostic data obtained during the first ascertaining experiment are presented in tables 3, 4, 5, in Fig. 1, 2,3.

Table 3

The distribution of students in the experimental and control classes according to the cognitive criterion (the first ascertaining experiment)

Table 4

Distribution of students in the experimental and control classes according to the motivational-need criterion (the first ascertaining experiment)

	Fig. 2 Levels of formation of creative abilities of students according to the motivational-need criterion

Table 5

Distribution of students in the experimental and control classes according to the activity criterion

(first ascertaining experiment)

The results of the first ascertaining experiment show that students of both the control and experimental classes have the highest scores on the motivational-need criterion, which indicates the students' interest in performing creative tasks, the desire to prove themselves as a creative person.

In general, students in the control class have a slightly higher level of development of creative abilities than students in the experimental class. (Intermediate tables are in the appendix).

The data of the first ascertaining experiment indicate an insufficient level of development of students' creative abilities, which necessitates a formative experiment.

Conclusions on Chapter I

1) Creative activity is understood as such human activity, as a result of which something new is created - whether it is an object of the external world or a construction of thinking that leads to new knowledge about the world, or a feeling that reflects a new attitude to reality.

2) Creative activity and creative abilities are interrelated with each other, since abilities develop and form only in the process of activity, and are not innate human characteristics. Creative imagination and thinking are the highest and necessary human abilities in the process of learning activities. The educational process in elementary school has real opportunities for the development of creative abilities.

3) As a result of the analysis of practical experience in enhancing the creative activity of younger students, we have identified: the significance of this problem for teachers, the interest of psychologists and methodologists in it.

4) Reading lessons are the most frequent and methodologically favorable lessons in which you can significantly increase the level of development of creative abilities if you regularly use creative exercises.

5) We have identified the criteria and means of diagnosing the level of development of creative abilities of younger students. The results of the first ascertaining experiment showed that the majority of students in the control and experimental classes average level development of creative abilities. The highest indicators for the motivational-need criterion, which indicates the formation of a positive attitude towards creativity and creative tasks, the development of creative abilities, the presence of a desire for self-realization, but insufficient manifestation of the desire to perform non-standard tasks. The data of the ascertaining experiment necessitate a formative experiment.

Chapter II. Organizational and pedagogical conditions for the development of creative abilities of younger students.

2.1. Development of creative abilities of younger students in the process of performing creative tasks

The traditional education system is concerned with giving students some amount of knowledge. But now it is not enough to memorize a certain amount of material. The main goal of learning should be the acquisition of a general strategy, you need to teach how to learn, one of the conditions for mastering such a strategy is the development of creative abilities. These words belong to the well-known Soviet psychologist who studied the psychology of creativity and creative abilities Luk A.N. Indeed, often the teacher requires from the student only the reproduction of certain knowledge given to him in finished form. Creative abilities develop, as we found out during the theoretical analysis of the works of Rubinshtein S.L., B.M. Teplova and Nemova R.S., can only be done when organizing truly creative activity.

R.S. Nemov, defining the essence of the process of developing abilities as a whole, put forward a number of requirements for activities that develop abilities, which are the conditions for their development. Especially among such conditions, Nemov R.S. highlighted the creative nature of the activity. It should be associated with the discovery of something new, the acquisition of new knowledge, which ensures interest in the activity. This condition for the development of creative abilities was singled out by Ya.A. Ponomarev in his work "The Psychology of Creativity".

In order for students not to lose interest in activities, it is necessary to remember that the younger student seeks to solve problems that are difficult for him. This will help us to realize the second condition for developing activities put forward by Nemov R.S. It lies in the fact that the activity should be as difficult as possible, but doable, or, in other words, the activity should be located in the zone of the potential development of the child.

Subject to this condition, it is necessary to increase their complexity from time to time when setting creative tasks, or, as B.D. Bogoyavlenskaya, adhere to the "principle of the spiral". It is possible to realize this principle only during long-term work with children of a typical nature, for example, when setting the themes of essays.

Another important condition for the development of precisely creative abilities, Ya. A. Ponomarev called the development of creative activity, and not teaching only technical skills and abilities. If these conditions are not met, as the scientist emphasized, many qualities necessary for a creative person - artistic taste, the ability and desire to empathize, the desire for something new, a sense of beauty are among the redundant, superfluous. To overcome this, it is necessary to develop the desire to communicate with peers, determined by the age characteristics of the development of the personality of primary school age, directing it towards the desire to communicate through the results of creativity.

The best in relation to primary school age is “creative activity organized in a special way in the process of communication”, which subjectively, from the point of view of a primary school student, looks like an activity for the practical achievement of a socially significant result. For this, it is important that the child has something to say to the participants in the communication, so that he really conveys information, for this it is necessary to find a recipient of communication. In our case, the recipient is the class team and the teacher, and at the school level, this is the school team, and so on.

The traditional objective conditions for the emergence of students' creative activity in the process of learning are provided when implementing the principle of problematicity in the learning process in a modern school. Problem situations that arise as a result of encouraging schoolchildren to put forward hypotheses, preliminary conclusions, and generalizations have been widely used in teaching practice. Being a complex method of mental activity, generalization implies the ability to analyze phenomena, highlight the main thing, abstract, compare, evaluate, define concepts.

The use of problem situations in the educational process makes it possible to form a certain cognitive need in students, but also provides the necessary focus of thought on an independent solution to the problem that has arisen. Thus, the creation of problem situations in the learning process ensures the constant inclusion of students in independent search activities aimed at resolving emerging problems, which inevitably leads to the development of a desire for knowledge and creative activity of students. Answering a problematic question or solving a problematic situation requires the child to derive such knowledge on the basis of what he has, which he did not yet possess, i.e. creative problem solving.

But not every problematic situation, the question is a creative task. So, for example, the simplest problem situation may be a choice of two or more possibilities. And only when a problem situation requires a creative solution can it become a creative task. When studying literature, the creation of a problem situation can be achieved by asking questions that require students to make a conscious choice. So, creative abilities develop and manifest themselves in the process of creative activity, the essence of the child's creative activity - the student creates something new only for himself, but does not create something new for everyone. Thus, children's creativity is the implementation of the process of transferring the experience of creative activity. In order to acquire it, the child "needs to find himself in a situation that requires the direct implementation of similar activities."

So, in order to learn creative activity, and in the process of such learning, the creative abilities of students will naturally develop, there is no other way than the practical solution of creative problems, this requires the child to have creative experience and, at the same time, contributes to its acquisition.

2.2 Literary creativity of schoolchildren as a condition for the development of creative abilities

These are children's speech exercises based on active imitation. On the one hand, through oral retelling and written presentation, the student’s speech is enriched, he, as it were, takes lessons from the writer; on the other hand, the student himself builds sentences and text, shows initiative and activity in generating speech.

It is difficult to imagine a lesson without a retelling, even a small one: the student retells what he has read, learned at home, conveys the content of books of extracurricular, free reading. The student retells the tasks for exercises in the Russian language, conveys the content of the mathematical problem, retells the rule in his own words. Constant retelling strengthens memory, trains the mechanisms of speaking. A variety of types of retelling, developed by experience, brings animation to the lessons: a retelling is known that is close to the text of the sample (detailed), selective, compressed - with several degrees of compression, retelling with a change in the face of the narrator (sample in the first person - retelling in the third), from the person one of the characters (there is an imaginary story from the “face” of an inanimate object), a dramatized retelling - in faces, a retelling with creative additions and changes, a retelling according to key words, in connection with pictures - illustrations, retelling - characterization, retelling - description of the exposition (scene); retelling - oral drawing of pictures, illustrations, etc.

Presentation (retelling) is one of the creative methods of developing students' speech. It is assumed that the student, listening to or reading a story intended for written presentation, must assimilate the thought and convey it in his own words. The presentation should sound like a live speech of the student. Language means are assimilated when reading, in conversations, in the course of text analysis, they become their own for the student, and in the process of compiling their own text, the student does not strain, remembering the sample verbatim, but builds the text himself, conveys the content of the thought. In this work, independence increases, elements of creativity are born in the course of reproduction. The retelling (presentation) reflects the feelings of the student, his desire to interest the audience. If he "entered the role", empathizes with the heroes of the story, if his feeling sounded in the retelling, then the creative level of his speech is high: the retelling turns into a story being created, not memorized. Creative retellings and presentations are those retellings and presentations in which the personal, creative moment becomes the leading and determining one, it is foreseen in advance, it concerns both content and form. This is a change in the face of the narrator, the introduction of verbal pictures into the story - the so-called verbal drawing, this is an imaginary screen adaptation, the introduction of new scenes, facts, characters into the plot; finally, it is dramatization, staging, theatrical embodiment. A variant of creative retelling is the transfer of content on behalf of one of the characters, for example, when retelling the fairy tale "The Gray Sheika" by D.N. Mamin-Sibiryak from the face of a fox. After all, the fox could not know what was before her first coming to the lake, and also further fate ducks. “The story of the dogwood stick in its own presentation” (Tikhomirov D.I. What and how to teach in the lessons of the Russian language. - M., 1883) is a new fantastic story with fictional characters, with the adventures of the owner of this dogwood stick. In other words, some scenes will disappear, others can be presented in a completely new way, and some are invented anew, based on creative imagination. There will also be changes in the language, it should reflect the character of the fox, which so wanted to eat the Gray Neck, and Vanka Zhukov will tell his story, introducing into speech the words and turns of speech characteristic of a village boy.

The study of the native language and especially literature gradually introduces students to the world of linguistic creativity: this includes keeping a diary, and correspondence, and describing pictures of nature, even if on the instructions of a teacher, and drawing pictures, and reciting poems, and staging, publishing newspapers and magazines, composing plays, this is the research activity of students in grammar, the history of words, etc. In other words, creativity is not only poetry; Perhaps the composition of poetry is not always the pinnacle of creativity, but rhythmic and rhymed speech immediately stands out from prose exercises. Literary attempts of children most often go beyond the lessons, they are associated with extracurricular activities, circle work, with clubs. In the modern education system, the following forms of organizing creative work such as an essay or close to it are known:

a) independent creativity at home, sometimes hidden: diaries, records of events or something interesting that is important for schoolchildren, writing poetry, etc. This is all done without the teacher’s tasks, and it happens that the teacher finds out about the student’s hidden creative activity years later. On this basis, this form of the creative life of the individual is not only underestimated, but even condemned. This is unfair: a child, even more than an adult, has the right to his secret, to non-standard behavior;

b) circles organized by the school and other institutions: literary and creative circles for studying the native language, theatrical, children's clubs, literary associations, school theater, various holidays, matinees, meetings, joint trips; they allow communication in free conditions;

c) various competitions, olympiads, competitions: a competition of riddles, poetic congratulations for the New Year, by September 1. Competitions are announced within the framework of the school, the entire city, even within the entire country. The winners are awarded the titles of laureates, as in adults;

d) publication of newspapers and magazines of children's creativity. These publications are now being published in hundreds of gymnasiums and ordinary secondary schools, and quite often an independent magazine is published for elementary grades.

Let's give some examples - from practice.

Riddles competition.

Making riddles.

A start has been given. Mokhnatenka, mustachioed ...

The children continue. Lies in the sun

He squints.

Another offers. Her mice are afraid.

Third. She has one concern:

Go hunting at night!

Lies round, golden

I opened my mouth as much as I could

Took a big bite.

I thought it would be sweet

It turned out sour, nasty!

Money box poetic images. Someone writes down songs, someone writes aphorisms, and someone writes excerpts from their favorite poems. It is necessary that the passage be small, contain an image. Here is the soundtrack:

Wave upon wave ran,

The wave drove the wave.

Smooth, rhythmic sound, the sound [l] is repeated.

Here is another auditory image, “rumbling”:

When the first spring thunder

As if frolicking and playing,

Black raven in the snowy dusk.

Peace to the aspens, which, spreading its branches,

We looked into the pink water.

(S. Yesenin.)

The mountain ash lit up with a red brush. Leaves were falling. I was born...

(M. Tsvetaeva.)

To poetry - through a joke. Having created an atmosphere of looseness in the classroom, teacher R.V. Kelina (Samara) suggested the first line to the children, i.e., in essence, suggested the theme and rhythm:

Grandma just fell asleep...

And received a collection of funny poems:

Grandma just fell asleep

Murzik quickly got off the chair,

Started walking around the room

Jump, run, wake everyone up.

Morning has finally come

The fugitive walked a lot,

The naughty trudged home

Dirty, wet and lame.

The first snow fell to the ground

All at once it became light!

It is fluffy, bright, white,

It lies lightly on the ground.

General advice to the teacher in connection with the first attempts of students in literary work: do not give any assignments, no reproaches, and even more so - humiliating remarks; complete freedom of creative attempts; create an atmosphere of positive emotions, a good mood, you can read samples, tell children about the early poems of M.Yu. Lermontov, S. Yesenina, A.S. Pushkin, etc.; assistance to provide mainly individual; L.N. Tolstoy allowed help in choosing a topic, in compiling individual phrases, in writing down a text - in particular, in spelling; especially appreciate a good image, a well-chosen word, humor, the ability to notice the details of what is being described; perform some organizational functions: help in organizing competitions, matinees, discussions, publishing a magazine and, of course, in editing.

2.3 Organization of creative activity of younger students for the development of creative abilities

1. Compose a story from several texts on a given topic.

2. Retell the text and continue it by adding new facts, events from the life of the characters.

3. Change the person, tense of verbs when transferring the content of the text.

4. Compose a story by analogy with what you read based on your personal experience.

5. Compose or continue a story based on a picture or a series of pictures illustrating what has been read.

6. Compose a story based on a picture that makes it possible to compare what is read and what is shown in the picture.

7. Compose a story based on personal observations of pictures of nature that are close to what you read.

When conducting a formative experiment, the purpose of which was to develop the creative abilities of younger students, the students were given the following task - to combine similar content that is available in several texts. To perform such a retelling, the guys must carry out a complex creative mental operation - synthesis. Under the synthesis of learning is understood the association, linking, establishing relationships between the acquired knowledge. We turn to the characteristics of the implementation of exercises of this type of retelling.

The students are given the task of compiling one story out of two or three stories they read. This work is carried out after an appropriate preparatory conversation, in which the teacher puts the children in front of the need to correlate parts of texts similar in content according to the plan. For example,

1. Read three stories: the story of Skrebitsky and Chaplina "Look out the window", "What did the woodpecker feed on in winter", "Sparrow".

2. Conversation on the text to identify factual and contextual information. Identification of author's positions in texts.

3. Finding common in the content of the stories read.

4. Answers to questions for the purpose of language training.

5. Formulation of the task: compose a story "How wintering birds get their own food."

6. Structural and compositional work (story plan):

Birds are "winterers".

Bird food in winter.

Getting food.

7. Role play. Image of birds.

The work on the retelling became more difficult. The story is carried out not only on the basis of read prose, but also poetic texts. In this regard, students are tasked not only to combine what they read from different texts, but to compose a story on a specific topic based on what they read in different works. This task, of course, is more creative and therefore makes much more demands on the mental activity of students. As with any synthesis task, the student must, in order to compose this story, realize and keep in his mind the general theme around which he needs to group the material from the texts. For example,

1. Read F. Tyutchev's poem "Spring Thunderstorm", "Spring Noise", M. Isakovsky's poem "Spring".

2. Based on these poems, make up a story on the theme "Spring".

3. Drawing up a plan for a future story:

A) the first spring thunder,

B) nature is awakening,

C) people rejoice in spring.

This task is not designed to reproduce the text, but to develop its content. Of course, this improvisation was the fruit of the creative imagination of children and must have real foundations. In this regard, it is necessary to involve sensual life and reader's experience in the conversation. The wider the experience, the greater the scope of creative imagination.

As a formative experiment in the experimental 3 "A" class, we carried out purposeful work to develop the creative abilities of younger students. After that, 2 ascertaining experiments were carried out. The purpose of the second ascertaining experiment: to identify changes in the level of development of creative abilities of students in the control and experimental classes.

In the second ascertaining experiment, the measuring instruments presented in paragraph 1.3 were used. to develop the creative abilities of students at the lessons of literary reading, a number of lessons were held (Appendix). The data obtained during the second ascertaining experiment are presented in tables 6.7, in Fig. 4.5.

Table 6

Distribution of students in the control and experimental classes according to the level of formation of creative abilities (the second ascertaining experiment)

Criteria	cognitive			Motivational-need			activity
	IN	WITH	H	IN	WITH	H	IN	WITH	H
Experimental class	44,5%	55,5%	0	49,4%	51,6%	0	35,9%	64,1%	0
control class	30,6%	59,4%	10,0%	34,5%	49,1%	15,4%	20,4%	69,6%	10,0%

Fig. 4 Distribution of students in the control and experimental classes in the second ascertaining experiment

Table 7

Distribution of students in the experimental class according to the level of formation of creative abilities

(first and second ascertaining experiment)

Criteria	cognitive			Motivational-need			activity
Experiment	IN	WITH	H	IN	WITH	H	IN	WITH	H
I	25,5%	60,3%	14,2%	30,5%	54,2%	15,3%	20,4%	59,3%	20,3%
II	44,7%	55,3%	0	50,0%	50,0%	0	35,8%	64,2%	0

Analysis of the results of the second stating

his experiment in the control and experimental classes showed that the level of development of the creative abilities of younger students in the control class, where the formative experiment was not conducted, remained the same. The experimental class showed higher results:

A low level of development of creative abilities in the experimental class was not revealed by any criterion, while in the control class it ranged from 15 to 20% according to various criteria.

In general, the level of development of creative abilities of students in the experimental class is significantly higher than that of students in the control class. (Annex 6)

The data of the second ascertaining experiment indicate that significant changes occurred in the level of development of creative abilities of students in the experimental class, due to the formative experiment conducted in the class.

Conclusions on Chapter II

In the course of the study, we have identified the most effective conditions for the development of creative abilities of younger students in reading lessons. Based on the work carried out, the following conclusions can be drawn:

1) In our formative experiment, we used such means of developing creative abilities as creative tasks in reading lessons, creative retelling, exercises aimed at developing the literary creativity of schoolchildren (creating newspapers, magazines, almanacs, writing poems, keeping personal diaries).

2) One of the important ways to develop creative abilities in elementary school is to include younger students in joint creative activities outside of school hours. Participation of schoolchildren in creative activities at extracurricular activities most clearly demonstrate the level of interest in performing creative tasks. In our experiment, we implemented this method through the writing activity of children (composing riddles, poems).

3) Analysis of the results of the second ascertaining experiment in the control and experimental class showed that the level of development of creative abilities of younger students in the control class, where the formative experiment was not conducted, remained the same. In general, the level of development of creative abilities of students in the experimental class is significantly higher than that of students in the control class. The data of the second ascertaining experiment indicate that significant changes occurred in the level of development of creative abilities of students in the experimental class, due to the formative experiment conducted in the class.

Conclusion

Having studied the theoretical foundations of the formation of creative abilities of younger students and identified the pedagogical conditions for the formation, we made the following conclusions:

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

2) As a result of the analysis of the practical experience of teachers - practitioners, scientific and methodological literature, it can be concluded that the educational process in primary school has real opportunities for developing creative abilities and enhancing the creative activity of younger students.

3) Consideration of the conditions for the development of creative abilities of younger students allows us to identify ways to implement their development in the process of conducting reading lessons. The first is the organization of the educational process by setting creative educational tasks and by creating pedagogical situations of a creative nature; as well as the organization of independent creative work of primary school students. And the second way is through the involvement of students in the study of literature to artistic and creative activities.

4) We have determined the criteria for the development of creative abilities (cognitive, motivational-need, activity), characterized the levels of development in accordance with the criteria and selected diagnostic tools. The results obtained by us after conducting experiments 1 and 2 showed that as a result of using creative tasks in reading lessons, the number of children with a low level in the experimental class decreased, and the number of children with a high and medium level increased, there were no changes in the control class. Comparing the results of the two classes, we can conclude that there is a positive trend in the growth of the level of creative abilities in the experimental class.

Thus, the goal of our work has been achieved, the tasks have been solved, the conditions put forward in the hypothesis have been confirmed.

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Applications

Annex 1

Method "Compositor"

This is a test - a game for assessing non-standard creative thinking, ingenuity, intelligence of a student. The child is given a word consisting of a certain number of letters. Words are made from this word. This job takes 5 minutes.

Words must be common nouns in the singular, nominative case. The word is nonsense.

The signs by which children's work is evaluated: the originality of words, the number of letters, the speed of inventing.

For each of these characteristics, a child can receive from 2 to 0 points in accordance with the criteria:

Originality of words: 2 - words are unusual, 1 - words are simple, 0 - a meaningless set of words.

Number of letters: 2 - the largest number of letters, all words are named; 1 - not all reserves are used; 0 - task failed. Thinking speed: 2-2 minutes, 1-5 minutes. 0 - more than 5 minutes. Accordingly, a high level - 6 points, an average - 5-4 points, a low level - 3-1 points.

Annex 2

Method "Make up a story about a non-existent animal"

The child is given a piece of paper and is invited to come up with a story about an unusual fantastic animal, that is, about one that has never existed anywhere before and does not exist (you cannot use fairy tale and cartoon characters). You have 10 minutes to complete the task. The quality of the story is evaluated according to the criteria and a conclusion is made about the general level of development of creative abilities.

8-10 points - in the allotted time, the child came up with and wrote something original and unusual, emotional and colorful.

5-7 points - the child came up with something new, that in general it is not new and carries obvious elements of creative imagination and makes a certain emotional impression on the listener, the details are spelled out in an average way.

0-4 points - the child wrote something simple, unoriginal, the details are poorly worked out.

Annex 3

Method "Three words"

This is a test game for assessing creative imagination, logical thinking, vocabulary, general development. The students were offered three words and asked them to write the largest number of meaningful phrases as soon as possible, so that they included all three words, and together they would make up a meaningful story.

Words for work: birch, bear, hunter.

Evaluation of results:

5 points - a witty, original phrase (example: a bear was watching a hunter from a birch);

4 points - the correct logical combination of words, but all three words are used in each phrase (the hunter hid behind a birch, was waiting for a bear);

3 points - a banal phrase (the hunter shot at a bear, hit a birch);

2 points - only two words have a logical connection (birch trees grew in the forest, a hunter killed a bear in the forest);

1 point - a meaningless combination of words (white birch, cheerful hunter, clumsy bear).

Conclusion about the level of development: 5-4 points - high; 3 - medium; 2-1 - low

Appendix 4

Summaries of the lessons conducted at the stage of the second ascertaining experiment

Lesson outline. Folklore. Bylina "Ilya Muromets and the Nightingale the Robber"

Type of lesson - familiarization with new material.

In this lesson, active forms of student activity were used, the following were used: modeling techniques, differentiated and individual work with children, information technology, group work.

Lesson Objectives:

to teach how to work with a work, to form the skills of a full-fledged perception and analysis of a work;

learn how to plan a work using modeling.

Lesson objectives:

Educational:

introduce the concept of the epic as a genre of folklore and its features (melodiousness, repetitions, stable epithets)

to introduce children to the epic “Ilya Muromets and the Nightingale the Robber”;

identify the artistic features of epics;

Developing:

develop thinking, imagination, memory, holistic perception, observation, the ability to compare and analyze;

form literary ideas

Educational:

to cultivate love for oral folk art, for Russian literature, the education of patriotic feelings and moral qualities of the individual

Planned achievements of students in the lesson:

name epics correctly and highlight their features

compare heroes - positive and negative

retell bylinas and individual episodes according to the plan, read expressively the texts of epics or episodes from them (description of epic heroes, their exploits and miracles)

compare epics about the exploits of the same heroes, characterize the features of the speech of storytellers (epics).

Equipment:

computer, presentation of the lesson, CD “Masterpieces of Russian Painting”, tape recorder with a recording of the epic “Ilya Muromets and the Nightingale the Robber”, reproductions of paintings by V. M. Vasnetsov

Visual range:

a selection of illustrations by the artist N. Vorobyov for epics

interactive tour using the CD-ROM “Masterpieces of Russian Painting”

feature film “Ilya Muromets and the Nightingale the Robber” (excerpt)

Sound range:

A. Muravlev “Concerto for a duet of gusli with an orchestra of folk instruments”, epic

R. Gliere "Symphony No. 3" "Ilya Muromets"

During the classes

I. Generalization of existing knowledge about oral folk art.

1. The guys are invited to work with a diagram in the center of which the word Folklore is placed, ”and from it, arrows indicate various genres of folklore (tales, nursery rhymes, riddles, fables, tongue twisters, proverbs.)

It is necessary to restore the missing element - epics.

Thus, we bring the children to the topic of the lesson - epic.

At this stage, there is a generalization of existing knowledge.

2. Sounds “Concert for a duet of gusli with an orchestra of folk instruments”, bylina A. Muravlev in order to create an emotional mood and prepare for the perception of the topic.

3. To activate cognitive processes children are asked the question: What does the word "epic" mean? (children's answers).

After that comes the work with the slide.

II. Learning new material.

1. Slide number 2.

The word Bylina "means" true story ", that is, a true story. Previously, epics were sung to the harp, so the performance has a smooth and melodious narration.

In total, there are more than a hundred epics, and they came to us from distant times, were passed down by people from mouth to mouth. And for us, they were saved by the collectors of epics, who traveled through cities and villages and wrote them down from simple peasant storytellers.

2. Slide number 3 (image of a hero)

The main characters of epics are folk heroes - heroes. Bogatyrs love their native land, stand guard over its borders, in a moment of danger come to the aid of their people, save them from enslavement and humiliation. They are the embodiment of the ideal of a courageous, honest person devoted to the Motherland and people. He is not afraid of the innumerable forces of the enemy, he is not afraid even of death itself!

Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich, Danube-in-law, Vasily Kazimirovich, Sukhman - cause us admiration, joy, faith in the forces of the people.

So, epics are, first of all, heroic folk songs about the exploits of strong, mighty defenders of the Russian land.

The most famous epics were “Dobrynya and the Snake”, “Alyosha Popovich and Tugarin Zmeevich”, “About Dobrynya Nikitich and the Serpent Gorynych”, “Ilya Muromets and the Nightingale the Robber” and many others.

Today we will meet one of them.

3. Listening to the epic “Ilya Muromets and the Nightingale the Robber”

(listening to an audio cassette with an epic)

4. Analysis of the text of the epic, answers to questions:

What feelings did the heroes of the epic evoke in you?

How did you imagine Ilya of Muromets and the Nightingale the Robber?

Describe the appearance of the hero and the Nightingale the Robber.

Why did people sing the exploits of Ilya Muromets? Which?

Vocabulary in the classroom.

Make flooring from logs or brushwood for driving through a swamp

Rawhide belts - durable belts made from raw animal skin

Tyn - fence

Chambers of princes - a large rich room

Kaftan outerwear men

It’s enough for you to cry fathers-mothers - to make you shed tears, to grieve

Druzhina - princely army in Ancient Rus'

5. - Reading bylina by children in a chain after the teacher.

Subsequent analysis: (group and individual shape work)1 group (weak)2 group (medium)3 group (strong)

Check: children read the passage. Check: children read the passage. Show the completed model to the whole class

Individual task for the student:

Tell us about the main characters of the epic and convey your attitude to each

6. Now look at how these characters are presented in the movie and answer the question:

Did the filmmakers manage to convey the character and appearance of the heroes of the epic?

What difference did you see?

viewing an excerpt from the movie “Ilya Muromets” (the fight between Ilya Muromets and the nightingale the robber)

III. Completion of tasks in a notebook (tasks are given differentially)

1 group (weak)

Reread the first paragraph. Find the words that speak about the magical power of the horse Ilya Muromets.

Ilya Muromets gallops at full speed. Burushka Kosmatushka jumps from mountain to mountain, jumps rivers-lakes, flies over hills.

2 group (middle)

2) Pay attention to the names of the epic characters. What does the author call them? write down

3 group (strong)

3) Find in the text and read the paragraph and underline the words that speak of the heroic strength of Ilya Muromets.

Ilya jumped off his horse. He supports Burushka with his left hand, and with his right hand tears oaks with roots, lays oak floorings through the swamp. Thirty versts Ilya gati laid on it, good people still drive.

Work with the whole class.

4) Find a paragraph that talks about the power of the Nightingale - the robber. Write in the missing words.

Yes, as he whistles like a nightingale, growls like an animal, hisses like a snake, so the whole earth trembled, hundred-year-old oaks swayed, flowers crumbled, the grass died. Burushka-Kosmatushka fell to his knees.

Independent work of children.

Checking completed work.

8. Crossword

1) The village where I. Muromets lived. (Karacharovo)

2) The city from under which the hero came. (Murom)

3) The river where the Nightingale the Robber lived. (Currant)

4) The name of the horse Ilya Muromets. (Burushka)

5) The name of the father of the Nightingale the Robber. (Rahman)

9. Literary dictation

Bylina, hero, epic hero, Rus', Ilya Muromets, Burushka-Kosmatushka, Nightingale the Robber, Karacharovo village, Smorodinaya river

IV. Summary of the lesson. Interactive tour. Slide number 5

Mu Homework:

artistic retelling of the epic

draw heroic armor

Summary of the lesson "Oral folk art of the Russian people"

Type of lesson: generalization and systematization of knowledge.

Lesson form: lesson-game with competition elements.

Lesson Objectives:

1. Educational:

to consolidate the concepts of oral folk art;

talk about genres: “riddles”, “proverbs”, “patter”, “fiction”, “counting”, nursery rhymes, “fairy tales”, “epics”;

2. Developing:

development of the ability to carefully, thoughtfully perceive a literary text;

development of competent oral speech;

skills building expressive reading

3. Educational:

fostering a careful attitude to oral folk art;

education of moral qualities.

Equipment: an exhibition of children's drawings, a flower, magnets, illustrations for fairy tales, a reproduction of V. Vasnetsov's painting "Bogatyrs", drawings of children about the family, a textbook by L.A. Efrosinina, M.I. Omorokova “Literary reading” Grade 3, part 1, workbook No. 1, Dictionary Ozhegov.

Benefits: texts of nursery rhymes, fables.

Lesson plan:

1. introductory word teachers.

2. Students perform various tasks and exercises (in the form of a game).

3. The result of the lesson.

4. Homework.

During the classes

1. Organizational moment. Introduction by the teacher. Communication to students of the purpose of the upcoming work and the form of the lesson.

Today we have an unusual lesson

On it we will sum up the work.

On the genres of oral folk

Let's talk creativity

Let's repeat what we have read.

Whether in the garden, in the garden

The girl was walking

Whether in the garden, in the garden

Watered the flowers.

One flower plucked

And handed it to us in class.

2. The topic of the lesson.

The petals on our flower are not simple, but magical. We must help this fabulous living flower of Russian folklore bloom. Let's try guys? And for this we need to complete tasks.

Remember, we said: literature is what is written in letters. A letter is a letter. Literary work is written, and folklore affects. So, who can explain what “oral creativity of the Russian people” means?

(Children speak in their own words). Now find the definition of oral folk art in the textbook and read it. (page 4)

Every nation has works of oral folk art (folklore). This is his living memory, passed down from generation to generation, from grandfathers to grandchildren. These works reflected the life and customs of the people, their views on the world and man, ideas about good and evil.

Teacher. Amazing! Today we will continue the conversation about oral folk art, about its various genres. Let's divide into teams: 1 row - 1 team, 2 row 2 team, 3 row - 3 team. At the end of the lesson, let's summarize: who is the most erudite on this topic? (1 min.)

So, 1 task. Who can say what a proverb is? Now find and read the definition of the proverb in the textbook (p. 25)

Name and explain proverbs about family, parents and children. At home, you had to draw your family and pick up proverbs about the family. Children read prepared proverbs and explain their meaning.

“Children are joy, children are grief.” Parents love their children, but we do not always obey them, and they get upset and upset because of us.

"A mother's heart warms better than the sun." Mom will always support, help, tell. She is always the best friend.

"The whole family is together - and the soul is in place."

"Not the father - the mother who gave birth, but the one who made him drunk and taught good."

Each team names their proverbs and explains them.

Now read the proverb written on the board and explain it.

“Whoever is literate is not the abyss.”

You have completed the task and one petal opens. (1 min.)

(Comment. Identification of students' reading experience, individual survey and evaluation of students' answers, ability to work with textbooks and library books. Children bring books to class from the city library, school or home. I try to mark such children, stimulate their cognitive activity).

2 task.

Let's clap and say our favorite tongue twister "Bull, bull, dumb-mouthed, dumb-mouthed bull, the bull had a white lip was stupid." Now let's try to say it faster. Why do we need shortcuts? We train our tongue to pronounce all sounds clearly and correctly.

Task for each row: give your own example of a tongue twister.

Well done! So the second petal of our magic flower opens.

3 task.

One two three four five -

Calculate guys

What are in the circle here.

What is the name of this genre of folk art? Children's answers.

Each team must give an example of their own rhyme.

Well done boys! Here comes the next petal.

4 task.

You have text printed on the sheets. You must read it in an undertone, then determine the genre.

Three-ta-ta, three-ta-ta!

A cat married a cat.

The cat is walking on the bench.

And the kitty - on the bench,

Catches a cat by paws:

Oh you kitty, kitty

Cool little one!

Play with me cat

With Masha, a young cat!

These are fun. What do you think, what are the jokes for? A nursery rhyme is a song or rhyme to play with young children. These are games with fingers, arms and legs.

Each row should give an example of its nursery rhyme.

While the next petal opens, we will spend a physical education session with the help of nursery rhymes.

The sparrow flew, flew.

He flew, he flew young.

Over the blue sea.

I saw, I saw a sparrow.

I saw, I saw young

How girls walk

And the girls walk like this

And like this, and like this,

This is how the girls go.

The sparrow flew, flew.

I flew, I flew young

Over the blue sea.

I saw, I saw, sparrow,

I saw, I saw, young,

How do guys walk.

And the boys walk like this

And like this, and like this,

That's how the guys go.

(Comment. Identification of the reading experience of students, individual survey and evaluation of students' answers, the ability to work with additional literature and educational books. This form of work allows each child to show his level of erudition and literary development, test himself, comprehend and understand something).

5 task.

Guys, who can say what is fiction?

Reality is what it was, the truth. And fiction is fiction. This is something that does not happen, did not exist.

A merchant walked past the market,

tripped over a basket

And fell into a hole - bang!

Squashed forty flies.

Try to come up with your own fantasy. I give you a rhyme: a jackdaw is a stick.

Children's answers.

Well done guys, you're doing great. You completed this task as well, and therefore we have another petal open.

(Comment. The lesson was continued creative work students, which began at the lessons of the study of Russian folk art. Fables were composed in the classroom, in groups and individually, and homemade books were designed at art classes. This form of work allows each child to show their level of erudition and literary development).

6 task.

What it is? An intricate description of an object or phenomenon, compiled with the aim of testing the ingenuity, observation and ingenuity of a person.

It's a mystery.

Then for you guys

One riddle.

1 team.

Not a rider, but with spurs,

Not a watchman, but wakes everyone up. (rooster)

And how did you guess?

The rooster has growths on its paws, like spurs, and it wakes everyone up in the morning.

2 team.

Not a tailor, but all my life

Walks with needles. (hedgehog)

And how did you guess?

He has a lot of needles.

3 team.

Two bellies, four ears (cushion)

Explain how you determined it was a pillow.

A riddle, a proverb, a tongue twister, a nursery rhyme, fables, a counting rhyme, a song are forms of folklore.

Here is the next petal opened.

7 task.

Guys, who can say what an epic is? Children's answers.

But what is the definition of the epic given by Ozhegov's explanatory dictionary. (read out)

Bylina is a work of Russian folklore about the exploits of heroes who lived in the distant past. They fought with evil forces, with the enemies of the Russian land.

What epic heroic heroes do you know? Read the passage on page 20 and name the epic.

You have the names of various heroes printed on the leaves. You read carefully and select the names of only fabulous heroes and underline them.

Ilya Muromets, Moroz Ivanovich, Christopher Robin, Alyosha Popovich, Karabas Barabas, Dobrynya Nikitich.

Children's answers

Demonstration of a reproduction of the painting by V. M. Vasnetsov “Heroes”.

The great Russian artist Viktor Mikhailovich Vasnetsov was very fond of legends about heroes, who he listened to from his father, from the old people in the village where he lived. The artist devoted two decades to the painting “Bogatyrs”. To create images of heroes, the artist studied epics, the history of Ancient Rus', got acquainted with samples of ancient weapons and clothes of our ancestors in museums. In the center of the picture we see Ilya Muromets. To his left is Dobrynya Nikitich, to the right is the youngest of the heroes - Alyosha Popovich. Now this picture is stored in the Tretyakov Gallery in the Vasnetsov Hall.

Here's another petal open.

(Comment. We learned to work with the images of characters, the text of the work, practicing the ability to read “aloud” and “silently.” Setting a learning task is the goal of working in a textbook, the ability to navigate in a textbook and in a notebook, independently choose the operation of working with a textbook, working out search reading , expressive reading Work on leaflets - frontal verification of knowledge gained.)

8 task.

What is a fairy tale? Children's answers.

Find the definition of a fairy tale in the textbook and read it. Page 28.

This is an oral story about something unusual, which is hard to believe, about incredible, fantastic. Each nation has its own fairy tales, which are passed from the elders to the younger. When we open a book with folk tales, we will not see the names of the authors in it, because the author of folk tales is the people. But there are fairy tales that are created by writers. Such fairy tales are called literary or author's. These are the tales of A. S. Pushkin, S. Ya. Marshak, K. I. Chukovsky and other writers. (page 28)

You drew pictures for the fairy tales that we have already met. Can you please tell me which fairy tales you drew illustrations for?

Can you name the fairy tales whose main characters are depicted in these illustrations.

Demonstrate illustrations, children's answers.

Well done boys! And who among you can say what a saying is? A saying is a playful introduction or ending to a fairy tale.

Find and read the sayings to the fairy tale “Tsarevich Nekhitor - Nemuder”. Children's answers.

Find the dialogue between the old man and the old woman from the fairy tale “The Most Dear” and read what the old man offered, how the old woman objected to him.

In the workbook on page 23, guess the crossword “Through the pages of fairy tales”. Check completed work.

(Comment. We learned to work with the images of the characters, the text of the work, practicing the ability to read “aloud” and “silently.” search reading, expressive reading. All children's answers are confirmed by the test. Here the ability to work with the text of the work is revealed. Children learn self-examination and self-esteem. Work is carried out simultaneously on the language of the work and on the speech of children. The child can show his level of erudition and test himself.)

So our magical living flower of the oral creativity of the Russian people has opened.

Let's repeat? What genres of oral folk art we talked about today. Children's answers. As the lesson progresses, grades are given.

What do you think, what do the works of oral creativity of the Russian people teach? (goodness, truth, conscience, diligence)

Which of the following do you think is the most important?

You all did a good job with the tasks, and each team has the right to receive the title of an erudite team.

I suggest that you find books with Russian folk tales at home, read one of them, and in the next lesson you will retell the tale that you liked or expressively read an excerpt from this tale.

(Comment: Homework is given in several versions so that each child can choose a job according to their abilities.)

Additional material.

What genre of oral folk art belongs to a work that begins with the words:

1. Once upon a time there was a grandfather and a woman, and they had a chicken Ryaba.

2. Crested laughter

Laughed with laughter:

Ha ha ha!

3. An apple rolled past the garden,

Past the garden, past the city.

Whoever picks it up will get out!

4. Complete task No. 2 on page 20 in your notebook.

Lesson-journey "Meeting with a fairy tale"

The purpose of the lesson:

Develop observation logical thinking, coherent speech, switchability of attention, the ability to analyze, generalize;

To form the needs of constant reading of books, to enrich the reading experience of students;

To cultivate interest in reading, the ability to work together, to show independence and initiative, a culture of speech.

Equipment:

exhibition of books "Russian folk tales";

cards with excerpts from fairy tales;

items for staging fairy tales: tablecloth, plate

bag, bucket, broom.

visual material depicting objects from fairy tales.

tables with the names of fairy tales;

rooster, mouse, snow maiden masks

illustrations for Russian folk tales;

During the classes

1. Organizational moment.

2. Setting the goal of the lesson.

Guys, today we will talk about a fairy tale. For us, the existence of cars, airplanes, spaceships has long become familiar. I wanted to be transported to the end of the world - turn on the TV, and different countries, people, mountains, seas and more will appear on the screen. People have created more miracles than fairy-tale heroes. But why does the fairy tale remain so sweet and dear? Why are fairy tales still written? The fact is that all adults were once children, and children are always told fairy tales. And no matter what we invent, no matter where fate brings us, the fairy tale remains with us. A fairy tale was born with a person, and as long as a person is alive, a fairy tale will also be alive.

3. Actualization of knowledge.

Guys, we have been preparing for this lesson for a long time, we read many different fairy tales, drew illustrations for fairy tales. Tell me, what are fairy tales? (children's answers)

Household. These are stories about animals. There are no magical transformations in them. But these stories are very funny. In them, a good-natured bear, a cowardly hare, a cunning fox, an evil and deceived wolf.

There are also tales about peasants, soldiers, orphans. They also belong to everyday fairy tales.

Magic. They can do everything. Turn a swan into a girl, build a silver palace, turn a frog into a princess, a young man into a mosquito.

Literary tales. These are the ones that writers have composed and written.

Each nation has its own fairy tales, short and long, about people and animals, magical and almost without magic: What does a fairy tale teach us? (children's answers)

She teaches us goodness and justice, teaches us to resist evil, to despise the cunning and flatterers. Learn to understand someone else's misfortune.

No wonder the great Russian poet A. S. Pushkin says: "A fairy tale is a lie, but there is a hint in it - a lesson for good fellows." A fairy tale - a lie turns out to be the most beautiful truth, fairy tales help us to be kinder.

Who does not believe - let him believe

I am glad to any guest!

Opening doors to a fairy tale

I invite all the guys!

4. Work on fairy tales.

Guys, today we will go on a journey to the land of fairy tales. The flying carpet will help us. Close your eyes, mentally stand on the carpet, we will go on a journey "Meeting with a fairy tale." We fly over mountains, over seas, over dense forests. Fairyland is getting closer. The flying carpet slowly descends to the ground. We have arrived. Open your eyes, we are met by a fairy tale. We arrived at the Mysterious station.

Station "Mysterious" (a student comes out)

Fairy tale, fairy tale, joke

Telling her is not a joke.

To a fairy tale first,

Like a river murmured

So that by the end both old and small

She didn't fall asleep.

Student: Hello guys. Welcome to the land of fairy tales. My name is Alyonushka. Do you remember what fairy tale I live in? ("Sister Alyonushka and brother Ivanushka", "Geese are swans".)

I have fabulous things in my shopping cart. They belong to the heroes of Russian folk tales. You know these characters well. Guess what fairy tales these items are from?

(children's answers)

1. "Turnip". 2. "The Fox and the Crane". 3. "Geese and swans". 4. "Chicken - Ryaba". 5. "Princess - frog." 6. "Cat, rooster and fox" (the cat rescued the rooster with a harp) 7. "The Tale of Rejuvenating Apples and Living Water" "Geese - Swans". 8. "Sivka - Burka". "Ivan Tsarevich and the Grey Wolf".

I also have fabulous letters, only they do not have return addresses. Who wrote these letters?

1) Someone for someone

Grabbed tight:

Oh, can't pull it out

Oh, stuck tight.

But more helpers will soon come running:

Friendly common work will win the stubbornness

Who sat down so tight?

Maybe this: (Turnip).

2) Save. We were eaten by a gray wolf. (Goats).

3) "The fox is carrying me through dark forests, over fast rivers, over high mountains" (Cockerel).

4) What should be said to open the entrance to the cave? (Sim-sim open).

The storytellers embodied in the main characters of fairy tales the ideas of the Russian people about the best character traits. The events in the fairy tale take place in such a way as to repeatedly test the hero: his strength, courage, kindness, love for people and animals.

Today the guys act as heroes of Russian folk tales. They prepared questions.

(Children go to the blackboard one at a time and ask questions to the class).

I am Ivanushka from the fairy tale "Geese - Swans". Tell me, what animal helped me and my sister to escape from Baba Yaga? (Mouse).

I am Chanterelle - a sister from the Russian folk tale "Fox - sister and wolf". Answer me the question, where did the wolf put his tail to catch the fish? (Into the river).

I - Frost - Blue nose from the Russian folk tale "Two Frosts". Who did I freeze? (Barina).

I am the stepdaughter from the fairy tale "Morozko". Here is my riddle. What did Santa Claus give me? (Box).

I am the Chanterelle from the fairy tale "The Fox and the Crane". Tell me, what kind of porridge did I treat the crane? (Manna).

I am the Cat from the fairy tale "Cat, Rooster and Fox". My riddle is this. What did I play at the fox hole? (on the harp).

I am a Snow Maiden. Tell me, what made me happy on a spring day? (Grad).

On what basis can they be combined into one group? (All of them are Russian folk tales).

The red girl is sad

She doesn't like spring

She's hard on the sun

Tears are shed, poor thing.

(Snow Maiden).

Who guessed what kind of fairy tale it is. (Russian fairy tale "Snegurochka").

A dramatization of the fairy tale "The Snow Maiden". (children show a fairy tale)

Teacher. Name the main reason for the disappearance of the Snow Maiden. (She melted.)

In each proverb, the people put their dreams of goodness, justice, a comfortable life. Every folk tale contains a wise thought. It is not for nothing that this is said in the proverb: "A fairy tale is a lie, but in it:". Continue the proverb. (Hint, good fellows lesson.)

Labor feeds a person, but: (laziness spoils.)

Once he lied - forever: (he became a liar.)

Who does not love others: (he destroys himself.)

Finished the job -: (walk boldly.)

A person gets sick from laziness, but: (He gets healthy from work.)

It is bad for the one who: (does no good to anyone.)

Learn good: (bad things will not come to mind.)

Bitter work: (yes bread is sweet).

What famous Russian folk tale is the last proverb suitable for?

Russian folk tale "Spikelet".

Dramatization of the fairy tale "Spikelet" (children show a fairy tale)

What does this tale teach? (This tale teaches us that everyone gets what he has earned.)

Who owns these words from a fairy tale?

"Get in one ear and get out the other - everything will work out." (Cow - "Havroshechka")

"Are you warm, girl, are you warm red." (Morozko)

"Do not drink, brother, you will become a goat." (Alyonushka)

"Fu-fu, the Russian spirit is not heard, the view is not seen, but now the Russian spirit itself has come." (Baba Yaga)

"Sivka-burka, prophetic kaurka, stand before me, like a leaf before grass." (Ivan the Fool)

"As soon as I jump out, as I jump out, shreds will go along the back streets." (Fox).

"The fox carries me over dark forests, over fast rivers, over high mountains." (Cockerel)

"Kids, kids, open up, open up, your mother has come, she has brought milk." (Wolf).

"I see - I see! Do not sit on a stump, do not eat a pie. Bring it to your grandmother, bring it to your grandfather." (Masha)

"Look for me at distant lands, in a distant kingdom, in a distant state." (Princess Frog)

Teacher. What signs of Russian folk tales do you know? (fabulous beginnings and endings, magic items, stable combinations of words)

In fairy tales, the theme is varied. Remember fairy tales in which there was such a theme:

about industriousness ("Morozko")

about resourcefulness, ingenuity ("Ivan Tsarevich and the gray wolf")

about friendship, fidelity ("Cat, rooster and fox")

about greed, stinginess ("Havroshechka", "The Fox and the Hare")

about modesty, simplicity ("The Tale of Rejuvenating Apples and Living Water")

about courage, courage ("Porridge from an ax")

about respect for parents, old people ("Masha and the Bear")

Teacher. Our fun and interesting journey has come to an end. One boy said: "If I were a fairy tale, I would not have a good end, I would have no end at all, I would go on and on:" But this does not happen, and therefore let's end our meeting with these words:

Let the heroes of fairy tales give us warmth,

May good always triumph over evil!

It's time for us to fly back. And thank you, Alyonushka. Goodbye, we will meet again in fairy tales. (To children). Children, stand on the carpet, close your eyes. We are returning. Carpet - the plane rises higher and higher. Below was a magical land. We fly over mountains, over seas, over dense forests. Here is our village, our school. We landed. Open your eyes, we are home again. New journeys are waiting for us. You will make these journeys with your faithful friends - books. We give each of you a book of fairy tales.

Summary of the lesson.

What new did you learn at the lesson today?

For whom was the lesson difficult?

What did you especially like?

Evaluation for active participation in the lesson and a mark for all students.

Homework.

Continue reading Russian folk tales.

Annex 5

Characteristics of the level of development of creative abilities of students in the control class in the first ascertaining experiment

	F.I. student	Cognitive criterion	Motivational-need criterion	Activity criterion	Average level
		Levels
1	Kira K.	Short	Short	Short	Short
2	Julia K.	Average	Average	Average	Average
3	Sergey. WITH.	Average	Average	Average	Average
4	Anton. G.	Average	Average	Average	Average
5	Olga. Sh.	Average	High	Average	Average
6	Ludmila B.	Average	Average	Average	Average
7	Vyacheslav N.	High	High	High	High
8	Pavel S.	High	High	High	High
9	Elya O.	Average	Average	Average	Average
10	Sergei S.	Average	Average	Average	Average
11	Michael K.	Average	Average	Average	Average
12	Oksana Ch.	Average	Average	Average	Average
13	Olga T.	Average	Average	Average	Average
14	Julia D.	Average	Average	Average	Average
15	Michael K.	High	High	Average	High
16	Nicholas S.	High	High	High	High
17	Yura L.	Short	Short	Average	Short
18	Valery T.	High	High	High	High
19	Eugene B.	Average	Short	Short	Short
20	Mark T.	High	High	Average	High

Characteristics of the level of development of creative abilities of students in the experimental class in the first ascertaining experiment

№	F.I. student	Cognitive criterion	Motivational-need	Activity, criterion	Average level
		Levels
1	Nicholas B.	High	High	High	High
2	Sergey A.	Average	Average	Average	Average
3	I am above.	Average	High	Average	Average
4	Alexander B.	Average	Average	Average	Average
5	Oksana S.	Average	Average	Average	Average
6	Sergei Zh.	Average	Average	Average	Average
7	Tatyana T.	High	High	High	High
8	Daria G.	Average	Average	Short	Average
9	Alexey I.	Average	Average	Average	Average
10	Alexey K.	Average	Average	Average	Average
11	Natalya P.	Average	Average	Average	Average
12	Olga K.	Average	Average	Average	Average
13	Inna K.	Short	Short	Average	Short
14	Elena G.	Average	Average	Average	Average
15	Elena O.	High	High	Average	High
16	Roman K.	High	High	High	High
17	Glory S.	Short	Short	Short	Short
18	Ulyana F.	High	High	High	High
19	Gleb D.	Average	Average	Short	Average
20	Daniel Sh.	Short	Short	Average	Short

Appendix 6

Characteristics of the level of development of creative abilities of students in the control class in the second ascertaining experiment

	F.I. student	Cognitive criterion	Motivational-need	Activity criterion	Average level
		Levels
1	Kira K.	Average	High	Short	Average
2	Julia K.	Average	Average	Average	Average
3	Sergey. WITH.	Average	High	Average	Average
4	Anton. G.	Average	High	Average	Average
5	Olga. Sh.	Average	High	Average	Average
6	Ludmila B.	Average	Average	High	Average
7	Vyacheslav N.	High	High	High	High
8	Pavel S.	High	High	High	High
9	Elya O.	Average	Average	Average	Average
10	Sergei S.	Average	Average	Average	Average
11	Michael K.	Average	Average	Average	Average
12	Oksana Ch.	Average	Average	Average	Average
13	Olga T.	High	Average	Average	Average
14	Julia D.	Average	Average	Average	Average
15	Michael K.	High	High	Average	High
16	Nicholas S.	High	High	High	High
17	Yura L.	Short	Short	Average	Short
18	Valery T.	High	High	High	High
19	Eugene B.	Average	Average	Short	Average
20	Mark T.	High	High	Average	High

Characteristics of the level of development of creative abilities of students in the experimental class in the second ascertaining experiment

№	F.I. student	Cognitive criterion	Motivational-need	Activity, criterion	Average level
		Levels
1	Nicholas B.	High	High	High	High
2	Sergey A.	Average	High	Average	Average
3	I am above.	High	High	Average	High
4	Alexander B.	High	Average	Average	Average
5	Oksana S.	High	High	High	High
6	Sergei Zh.	Average	High	Average	Average
7	Tatyana T.	High	High	High	High
8	Daria G.	High	Average	Average	Average
9	Alexey I.	High	High	High	High
10	Alexey K.	Average	Average	Average	Average
11	Natalya P.	High	High	High	High
12	Olga K.	Average	High	Average	Average
13	Inna K.	Average	Average	Average	Average
14	Elena G.	High	Average	Average	Average
15	Elena O.	High	High	Average	High
16	Roman K.	High	High	High	High
17	Glory S.	Average	Average	Average	Average
18	Ulyana F.	High	High	High	High
19	Gleb D.	Average	Average	Average	Average
20	Daniel Sh.	Average	Average	Average	Average

Department of labor and social protection of the population of the city of Moscow

State budgetary educational institution Moscow city

"Boarding school №1 for education and rehabilitation of the blind"

Department of labor and social protection of the population of the city of Moscow

Report on the topic:

« Development of creative abilities

in elementary school classes"

Compiled by:

Primary school teacher: Pereskokova A.V.

Moscow 2017

Introduction

Conclusion

Applications

Introduction

Primary school age is a particularly critical period psychological development child, the intensive development of all mental functions, the formation of complex activities, laying the foundations of creative abilities, the formation of the structure of motives and needs, moral standards, self-esteem, elements of volitional regulation of behavior. Creativity is a complex mental process associated with the character, interests, abilities of the individual. Imagination is his focus. New Product, received by a person, in creativity can be objectively new (socially significant discovery) and subjectively new (discovery for oneself). The development of the creative process, in turn, enriches the imagination, expands the knowledge, experience and interests of the child. Creative activity develops the feelings of children, contributes to a more optimal and intensive development of higher mental functions, such as memory, thinking. perception, attention. The latter, in turn, determine the success of the child's studies. Creative activity develops the personality of the child, helps him to assimilate moral and ethical norms. By creating a work of creativity, the child reflects in them his understanding life values, their personality traits. Children of primary school age love to make art. They enthusiastically sing and dance, sculpt and draw, compose fairy tales, and are engaged in folk crafts. Creativity makes a child's life richer, fuller, more joyful. Children are able to engage in creativity regardless of personal complexes. An adult, often critically evaluating his creative abilities, is embarrassed to show them. Each child has his own, unique traits that can be recognized early enough.

The main provisions of the theory of creativity are set out in the works of M.M. Bakhtin, modified by V.S. Bibler and S.Yu. Kurganov. A great contribution to the study of creativity was made by numerous domestic and foreign studies (L.S. Vygotsky, S.L. Rubinshtein, K.A. Abulkhanova-Slavskaya, A.V. Brushlinsky, A.N. Leontiev, D.N. Uznadze and others; Lindsay G., Hall K.C., Thompson R.F.). In the research of PY. Galperin, V.V. Davydova, L.V. Zankova, Ya.A. Ponomareva, D.B. Elkonin and others showed that the various characteristics of the thinking of younger students directly depend on the organization of the educational process, on the content of education. Of interest are the studies of creativity by foreign scientists (R. Torrens, K. Taylor, E. Rowe, K. Cox, R. May, etc.), who consider it as the highest form of thinking. The essence of creativity as an integral phenomenon is widely represented in numerous studies by a number of domestic scientists (D.B. Bogoyavlenskaya, E.A. Golubeva, I.V. Druzhinin, N.S. Leites, A.M. Matyushkin. E.L. Yakovleva and etc.). Cognitive interest, activity, independence and creativity of students are considered in the works (D.B. Bogoyavlenskaya, V.S. Danyushenkov, P.I. Pidkasisty, Ya.A. Ponomarev, T.I. Shamova, E.A. Yakovleva).

The study of the development of creative abilities requires the identification of the conditions in which this process is carried out, that is, the developing environment. Separate aspects of this problem have been studied in the framework of studies devoted to "pedagogy of the environment" (S.T. Shatsky), "the social environment of the child" (P.P. Blonsky), "educational environment" (Y.A. Komensky, J.J. Rousseau , I.G. Pestalozzi, D. Locke), "environment" (P.P. Blonsky, Z.N. Ginzburg, A.S. Makarenko, S.M. Reeves, V.N. Soroka-Rossinsky, S .T. Shatsky and others).

However, the possibilities for the creative development of students, inherent in the content modern programs are not fully used by elementary school teachers.

The goal is to theoretically substantiate and determine the pedagogical conditions for the development of creative abilities in the process of labor training.

Tasks:

1. To carry out a theoretical analysis of the problem of developing students' creative abilities.

2. Highlight the features of the development of creative abilities in younger students.

To carry out the selection of the content and methods for developing the creative abilities of younger students in the lessons of labor training

To develop a system of creative tasks as a means of developing the creative abilities of younger schoolchildren in labor training lessons.

The object of the study is the development of creative abilities in younger students.

The subject is the pedagogical conditions for the development of creative abilities in younger schoolchildren in the process of labor training.

Research methods:

observation,

·conversation,

free conversations

Games for the development of creative abilities

Chapter 1. Theoretical foundations for the development of creative abilities in younger students

.1 The essence of the concept of "creativity"

Analysis of the problem of the development of creative abilities is determined by the content that is embedded 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, and write music. However, revealing the essencecreative abilities, their structure and characteristic features, determines the consideration of the concepts of "creativity" and "ability".

To date, in the philosophical, psychological, pedagogical literature, there are various approaches to the definition of creativity. The main difficulty is associated primarily with the absence of a directly operational, psychological content of this concept; this can explain the use so far of the definition of creativity only by its product - the creation of a new one. Philosophers define creativity as a necessary condition for the development of matter, the formation of its new forms, along with the emergence of which the forms of creativity themselves change. The Philosophical Encyclopedia defines creativity in this way: "Creativity is an activity that generates something new that has never been before."

The psychological dictionary interprets creativity as "an activity that results in the creation of new material and spiritual values ​​... It assumes that a person has abilities, motives, knowledge and skills, thanks to which a product is created that is novel, original, unique" .

Pedagogy determines that creativity is "the highest form of human activity and independent activity. Creativity is evaluated by its social significance and originality (novelty).

In fact, creativity, according to G.S. Batishchev is "the ability to create any fundamentally new opportunity".

Creativity can be considered in various aspects: the product of creativity is what is created; the creative process - how it is created; the process of preparing for creativity - how to develop creativity.

Creativity products are not only material products, but also new thoughts, ideas, solutions. Creativity is the creation of something new in different plans and scales. Creativity characterizes not only socially significant discoveries, but also those that a person makes for himself. Elements of creativity are also manifested in children in the game, work, educational activities, where there is a manifestation of activity, independence of thought, initiative, originality of judgments, creative imagination.

From the point of view of psychology and pedagogy, the very process of creative work, the study of the process of preparation for creativity, the identification of forms, methods and means of developing creativity are especially valuable. Creativity is purposeful, persistent, hard work. It requires mental activity, intellectual abilities, strong-willed, emotional traits and high performance.

According to foreign authors, creativity is:"… fusion of perceptions carried out in a new way" (McCallar)," the ability to find new connections" (Kyuubi)"… appearance of new works" (Murray)" activity of the mind leading to new insights" (Gerard)" transformation of experience into a new organization" (Taylor) .

The American scientist P. Hill defines creativity as "a successful flight of thought beyond the unknown". Of all foreign concepts and theories, the closest in its positions to the views of most domestic psychologists who study creativity is humanistic psychology. Its representatives (A. Maslow, K. Rogers) believe that creativity is the ability to deeply understand one's own experience, it is self-actualization, self-expression, strengthening oneself through the realization of one's inner potential.

It is not possible within the framework of this study to consider the views on the subject of defining the concept of creativity, even of our most famous psychologists - they all differ so much from each other, so the subject of study is complex and multifaceted. Let's note the most fundamental positions.

ON THE. Berdyaev in his work "The Meaning of Creativity" defines creativity as the freedom of the individual, and the meaning of creativity is the emotional experience of the presence of a contradiction and the search for ways to resolve it. IN AND. Strakhov characterizes creativity through the unity of labor and talent, highlighting, respectively, two aspects: activity and related to the creative abilities of a person. The Soviet psychologist 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. According to E.V. Ilyenkov, creativity is a dialogue, even because, without having a decided result, it is a subject-subject search. And further, many researchers associated creativity with dialogue, with the presence of a situation of uncertainty, problematicness, with the resolution of real contradictions. In the interpretation of Ya.A. Ponomarev's creativity is seen as "interaction leading to development" . Creativity manifests itself, develops and improves in activity under the influence of motivational and need-based attitudes, which constitute the basic properties of a person, the basis of her life position (G.S. Altshuller, Sh.A. Amonashvili, L.S. Vygotsky).

L.S. Vygotsky said that the highest expression of creativity is still available only to a few selected geniuses of mankind, but in the everyday life around us, creativity is a necessary condition for existence. Everything that goes beyond the limits of routine and contains at least a fraction of the new owes its origin to the creative process of man.

The phenomenology of creativity can be divided into three main types, which correspond to the types of creativity:

Stimulus-productive - activity can be productive, but this activity is determined every time by the action of some external stimulus.

Heuristic - activity takes on a creative character. Having a sufficiently reliable way of solving, a person continues to analyze the composition, structure of his activity, compares individual tasks with each other, which leads him to the discovery of new original, outwardly more ingenious ways of solving. Each regularity found is experienced as a discovery, a creative discovery, a new, "own" way that will allow solving the tasks;

Creative - an independently found empirical pattern is not used as a solution, but acts as a new problem. The patterns found are subjected to proof by analyzing their original genetic basis. Here the action of the individual acquires a generative character and more and more loses the form of a response: its result is wider than the original goal. Thus, creativity in the narrow sense of the word begins where it ceases to be only an answer, only a solution to a predetermined task. At the same time, it remains both a solution and an answer, but at the same time there is something “beyond that” in it, and this determines its creative status.

Currently, scientists distinguish two levels of abilities:

reproductive (rapid assimilation of knowledge and mastery of certain activities according to the model),

creative (the ability to create a new original with the help of independent activity).

The same person may have different abilities, but one of them may be more significant than others. On the other hand, have different people the same abilities are observed, but differing in level of development.

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

Creative abilities are not directly related to the level of general and special abilities, which are a real means of successful implementation of activities, but do not unambiguously determine the creative potential of an individual. Their contribution is realized only by being refracted through the motivational structure of the personality, its value orientations, i.e. there are no creative abilities that exist in parallel with general and special (Gilford's separation of the IQ and creativity).

The concept of creativity is often used as a synonym for creativity (from the Latin Creatio - creation, creation).

P. Torrance describes creativity in terms of thinking as "the process of feeling difficulties, problems, gaps in information, missing elements, distortion in something; building guesses and formulating hypotheses regarding these shortcomings, evaluating and testing these guesses and hypotheses, the possibility of revising them and verification and, finally, generalization of the results.

K. Taylor, like J. Guilford, considers creativity not as a single factor, but as a combination of different abilities, each of which can be represented to a different degree.

In J. Renzulle, creativity is also understood as the features of a person's behavior, expressed in original ways of obtaining a product, achieving a solution to a problem, new approaches to the problem from different points of view.

S. Mednik considers creativity as a process of redesigning elements in new combinations that meet the requirements of utility and some special requirements. In his opinion, the more distant the elements of the problem are taken, the more creative the process of solving it is.

F. Barron understands creativity as the ability to bring something new into experience, and M. Wollach - the ability to generate original ideas in terms of solving or posing new problems.

Based on the foregoing, there are at least three main approaches to the essence of creative (creative) abilities:

. As such, there are no creative abilities. Intellectual giftedness is a necessary but not sufficient condition for the creative activity of a person. main role Motivations, values, and personality traits play a role in activating creative behavior (A. Tannenbaum, A. Oloh, A. Maslow, and others). Among the main features of a creative personality, these researchers include cognitive giftedness, sensitivity to problems, independence in uncertain and difficult situations.

The procedural-activity approach of D.B. Epiphany. Creativity is considered by her as the activity of the individual, which consists in the possibility of going beyond the given. It presupposes the coincidence of motive and purpose, i.e., enthusiasm for the subject itself, preoccupation with activity. In this case, the activity is not suspended even when the initial task is completed, the initial goal is realized. We can say that there was a development of activity on the initiative of the individual himself, and this is creativity.

. Creativity is an independent factor, independent of intelligence (J. Gilford, K. Taylor, G. Gruber, Ya. A. Ponomarev). In a milder version, this theory states that there is little relationship between the level of intelligence and the level of creativity.

. A high level of intelligence development implies a high level of creative abilities and vice versa. The process of solving creative problems is the interaction of other processes (memory, thinking, etc.). Such a solution to the problem corresponds to one of the approaches identified by V.N. Druzhinin: there is no creative process as a specific form of mental activity, creative abilities are equated with general abilities. This point of view is shared by almost all experts in the field of intelligence (F. Galton, D. Wexler, R. Weisberg, G. Eysenck, L. Theremin, R. Sternberg, etc.).

The concept of "creativity" can be defined based on the provisions of such researchers as V.N. Myasishchev, A.G. Kovalev, N.S. Leites, K.K. Shatonov, S.L. Rubinstein, V.A. Krutetsky, A.N. Luk, T.I. Artemiev, V.I. Andreev and others.

Creative skills - it is a combination of individual personality traits that determine the possibility of successful implementation of a particular type of creative activity and determine the level of its effectiveness. They are not limited to the individual's knowledge, skills and abilities. Creativity is manifested in interest, desire and emotional attitude to creativity, as knowledge, the level of development of logical and creative thinking, imagination, independence and perseverance in creative search and ensures the creation of a subjectively new in a particular area.

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.

.2 Features of the development of creative abilities in students at primary school age

schoolboy creative creativity heuristic

From a psychological point of view, primary school age is a sensitive period for the development of creative abilities. Children of primary school age are extremely inquisitive, they have a great desire to learn the world. Adults, encouraging curiosity, imparting knowledge to children, 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 ordinary life, abilities act, first of all, as characteristics of a particular person. Turning to a specific person, especially in the educational process, we see that abilities develop and have an individually unique expression.

According to the content and degree of complexity, it is customary to distinguish:

Elementary (Basic) abilities - a set of individual personality traits as a generalization of mental processes that are common to all people approximately equally;

Complex general abilities, such as the ability to work, learn, nurture, communicate, speak, and others. They are also characteristic of all people, only in varying degrees;

Complex private (special) abilities are already a set of individual personality traits that ensure a person’s success in any field of activity.

By type of activity, there are:

Reproductive (reproducing) providing a high ability to assimilate knowledge, master various types of activities. 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.

· Creative - ensures the creation of a new, original. The result of creative activity is not the reproduction of impressions or actions that were in the previous experience of a person, but the creation of new images or actions. Creativity is at the core of this activity.

Creative abilities are the individual characteristics of a person's qualities that determine the success of his performance of various creative activities.

Creativity is an amalgamation of many qualities. The question of the components of human creativity is still open, at the moment there are several hypotheses concerning this problem.

A well-known domestic researcher of the problem of creativity A.N. Bow, based on the biographies of prominent scientists, inventors, artists and musicians, highlights the following creative abilities:

The ability to see a problem where others do not see it.

· The ability to collapse mental operations, replacing several concepts with one and using symbols that are more and more capacious in terms of information.

The ability to apply the skills acquired in solving one problem to solving another.

The ability to perceive reality as a whole, without splitting it into parts.

The ability to easily associate distant concepts.

The ability of memory to produce the right information at the right moment.

· Flexibility of thinking.

The ability to choose one of the alternatives for solving a problem before it is tested.

The ability to integrate newly perceived information into existing knowledge systems.

The ability to see things as they are, to distinguish what is observed from what is brought in by interpretation.

Ease of generating ideas.

· Creative imagination.

· Ability to refine details, to improve the original idea.

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:

The ability to take risks.

Divergent thinking.

· Flexibility in thinking and action.

· Speed ​​of thinking.

· Ability to express original ideas and invent new ones.

·Rich imagination.

Perception of the ambiguity of things and phenomena.

· High aesthetic values.

· Developed intuition.

All of the above qualities characterize a creative person.

The opposite qualities are stereotyping, stereotyping, inertia, superficiality of thinking. They are important in everyday life, as they allow you to quickly solve common tasks. However, psychological inertia is very harmful in creativity and in the development of creative abilities. After analyzing these and other points of view presented by many scientists and educators 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 creative thinking as essential components of creative abilities. Based on this, it is possible to determinethe main directions in the development of children's creative abilities:

Development of productive creativeimagination , which is characterized by such qualities as the richness of the produced images and orientation.

Development of qualitiesthinking , which form creative thinking (creativity); such qualities are associativity, dialectics and systemic thinking.

The thinking of younger schoolchildren is freer than the thinking of older children. It is not yet crushed by dogmas and stereotypes, it is more independent and this quality must be maintained and developed.

One of the indispensable components of creative thinking is originality, it expresses the degree of dissimilarity, non-standard, unexpectedness of the proposed solution among other solutions.

Since one of the signs of creativity is the creation of new useful combinations, the imagination that creates these combinations is the basis of the creative process. It follows from this that imagination is a necessary element of creative activity, which, according to L.S. Vygotsky, provides the following activities for 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.

Imagination is a necessary human ability, and at primary school age, the ability to imagine needs special care in terms of development, because at this age it develops especially intensively. In the future, there is 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, and interest in art and science fades.

Younger students carry out most of their vigorous activity with the help of imagination. Their games are still the fruit of the wild work of fantasy, thanks to them, children are enthusiastically engaged in creative activities. Psychological basis learning activity is also creative imagination. When, in the process of learning, children are faced with the need to comprehend abstract material and they need analogies, support with a general lack of life experience, imagination also comes to the aid of the child. More L.S. Vygotsky noted that the creative activity of the imagination is directly dependent on the richness and diversity of a person's previous experience: the richer the experience, the more material that his imagination has.

The stock of representations of the child must be replenished all the time. This is the task of both teachers and parents. As a result of the constant efforts of adults in this direction, the imagination of the younger student is improving: at first, the images are vague, unclear, and then they become more accurate and definite. If at the beginning of training for the appearance of an image there must be, for example, a picture, then by the 3rd grade in his imagination the student is able to rely on the word. The student is able to write an essay based on the story of the teacher or read in the book.

In elementary school, the child develops creative imagination as the ability to independently create new images based on existing ideas. When a child masters educational activities in elementary school, the child's imagination becomes a more controlled, arbitrary process. In elementary grades, the realism of children's imagination increases. This leads to an increase in the stock of knowledge and the development of critical thinking. The main directions in the development of the imagination of a younger student are the transition to an increasingly correct and complete reflection of reality on the basis of acquired knowledge.

Children of primary school age are very fond of doing art. It allows the child to reveal his personality in the most complete free form. All artistic activity is based on active imagination, creative thinking. These features provide the child with a new, unusual view of the world. They contribute to the development of thinking, memory, enrich his individual life experience, which in turn contributes to the development of imagination, creative thinking. Primary school age is a period of significant changes in a child's life, it is determined by the moment of entering school, this is a period from about 6-7 to 9-10 years. During this period, both the physical and psychophysiological development of the child takes place, providing the possibility of systematic learning.

According to psychologists' research, today's first-graders are significantly different from the first-graders of past years. For first graders:

Large differences in passport and physiological age. Various levels of development of emotional and mental readiness for the beginning of studies.

children have extensive, but unsystematic awareness of almost any issue. It is often contradictory, resulting in anxiety and uncertainty.

Today's children have a freer sense of their "I", more independent behavior than children of past years;

the presence of distrust of the words and actions of adults. Not everything said by adults, they take on faith;

The health of modern children is weaker;

Modern children in the majority have ceased to play collective yard games. They were replaced by TV and computer games.

Children come to classes without communication skills, being practically unsocialized, poorly understanding how to behave in a peer group, what are the norms of behavior. Collective games and activities help children "find themselves" in the society of their peers.

From the foregoing, we can conclude that this period in a child's life provides excellent opportunities for developing creative abilities. And the creative potential of an adult will largely depend on how these opportunities were used. The small number of people in a society with high creative potential is explained by the fact that in childhood only very few were exposed to conditions conducive to the development of their creative abilities.

It is desirable to create such conditions in any socio-cultural organization, social institution, since it is these institutions that are called upon to solve the problems of education and creative development of its participants.

Analysis of the main psychological neoplasms and the nature of the leading activity of this age period, modern requirements for the organization of education as a creative process, which the student, together with the teacher, in a certain sense build themselves; orientation at this age to the subject of activity and ways to transform it suggest the possibility of accumulating creative experience not only in the process of cognition, but also in such activities as the creation and transformation of specific objects, situations, phenomena, creative application of knowledge gained in the learning process.

In the psychological and pedagogical literature on this issue, definitions of creative activities are given.

Cognition - "... the educational activity of the student, understood as a process of creative activity that forms their knowledge."

Transformation is the creative activity of students, which is a generalization basic knowledge, serving as a developing beginning for obtaining new educational and special knowledge.

Creation is a creative activity that involves the design by students of educational products in the areas studied.

Creative application of knowledge is the activity of students, which involves the introduction by the student of his own thoughts when applying knowledge in practice.

All this makes it possible to define the concept of "creative activity of younger schoolchildren": a productive form of activity of elementary school students aimed at mastering the creative experience of knowing, creating, transforming, using objects of material and spiritual culture in a new quality in the process of educational activities organized in cooperation with the teacher.

Chapter 2

.1 The content and methods of developing the creative abilities of younger students in the lessons of labor training

Any activity, including creative, can be represented as the performance of certain tasks. I.E. Unt, defines creative tasks as "…tasks requiring creative activity from students, in which the student himself must find a way to solve, apply knowledge in new conditions, create something subjectively (sometimes objectively) new"

The effectiveness of the development of creative abilities largely depends on the material on the basis of which the task is compiled. An analysis of elementary school textbooks showed that the creative tasks contained in them are mainly classified as "conditionally creative", the product of which are essays, presentations, drawings, crafts, etc. Part of the tasks is aimed at developing the intuition of students; finding multiple answerscreative tasks that require resolution of contradictions are not offered by any of the programs used in schools .

The proposed tasks involve the use in the creative activity of younger students mainly of methods based on intuitive procedures (such as the method of enumeration of options, morphological analysis, analogy, etc.). Modeling, a resource approach, and some fantasy techniques are actively used. However, the programs do not provide for the purposeful development of students' creative abilities using these methods.

Meanwhile, for the effective development of the creative abilities of schoolchildrenthe use of heuristic methods should be combined with the use of algorithmic methods of creativity .

Based on the analysis of the literature (G.S. Altshuller, V.A. Bukhvalov, A.A. Gin, M.A. Danilov, A.M. Matyushkin, etc.), the following requirements for creative tasks can be distinguished:

openness (content of a problem situation or contradiction);

Compliance of the conditions with the chosen methods of creativity;

Possibility of different solutions;

taking into account the current level of development;

taking into account the age characteristics of students.

Considering these requirements, we buildsystem of creative tasks , which is understood as an ordered set of interrelated creative tasks, constructed on the basis of hierarchically built methods of creativity, focused onknowledge , Creation , transformation and use in a new capacity objects, situations, phenomena and aimed at developing the creative abilities of younger students in the educational process.

The system of creative tasks includestarget, content, activity and result components .

System-forming factor -student identity: his abilities, needs, motives, goals and other individual psychological characteristics, subjective creative experience.

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

When selecting the content for the system of creative tasks, 2 factors were taken into account:

1. the fact that the creative activity of younger students is carried out mainly on the problems already solved by society,

2. creative possibilities of the content of primary school subjects.

Content presented thematic groups tasks aimed at cognition, creation, transformation, use of objects, situations, phenomena in a new quality (see Table 1).

Each of the selected groups is one of the components of the creative activity of students, has its ownpurpose, content , involves the use of certainmethods , performs certainfunctions . 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:

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

to consider in the contradictions that determine their development;

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

2 group - "Creation"

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

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

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

orientation to the ideal end result of the system development;

· rediscovery of already existing objects and phenomena with the help of elements 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.);

to model changes in the internal structure of systems;

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

4th group - "Use in a new capacity"

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

Acquired Skills:

to consider the objects of the situation, phenomena from different points of view;

find fantastic applications for real-life systems;

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

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

The content of groups of creative tasks is presented in table 1 by thematic series.

Table 1. Exemplary thematic series of groups of creative tasks at labor training lessons

Series Content of creative tasks Types of tasks "Theatrical" Creation of theatrical effects, development of costumes, scenery, puppets Cognition Creation Transformation Use in a new capacity natural Cognition Transformation "Paper country" Creation of plots, playing them with paper crafts Transformation Use in a new capacity "Fantastic plots" Solving the problems of heroes of fantastic works, compiling fantastic plots and crafts for them Cognition Creation Transformation

Creative tasks are differentiated according to such parameters as:

the complexity of the problem situations contained in them,

·complexity mental operations needed to solve them;

forms of representation of contradictions (explicit, hidden).

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

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

Tasks of II level of complexity are one step lower and are aimed at developing the foundations of systemic thinking, productive imagination, predominantly algorithmic methods of creativity. Under the object in the tasks of this level is the concept of "system", as well as the resources of systems. They are presented in the form of a vague problem situation or contain contradictions in an explicit form. The purpose of tasks of this type is to develop the foundations of students' systemic thinking.

Tasks I (highest, high, advanced) level of complexity . These are open tasks from various fields of knowledge containing hidden contradictions. Bisystems, polysystems, resources of any systems are considered as an object. Tasks of this type are offered to students in the third and fourth years of study. They are aimed at developing the foundations of dialectical thinking, controlled imagination, and the conscious application of algorithmic and heuristic methods of creativity.

The methods of creativity chosen by students when performing tasks characterize the corresponding levels of development of creative thinking, creative imagination. Thus, the transition to a new level of development of the creative abilities of younger students occurs in the process of accumulating the experience of creative activity by each student. level - involves the performance of tasks based on enumeration of options and accumulated creative experience in preschool age and heuristic methods. Creative methods are used such as:

focal object method

morphological analysis,

·method control questions,

·dichotomy,

synectics,

Separate typical techniques of fantasizing.

II level - involves the performance of creative tasks based on heuristic methods and TRIZ elements, such as:

little man method

methods of overcoming psychological inertia,

system operator,

The resource approach

laws of systems development.

Level I - involves the performance of creative tasks based on the TRIZ mental tools, such as:

an adapted algorithm for solving inventive problems,

Techniques for resolving contradictions in space and time,

typical methods of conflict resolution.

Determining the conditions for the effective organization of the artistic and creative activity of children is one of the problems that constantly arouse the interest of researchers and, therefore, is quite often considered in special literature.

The very concept of "condition" is defined as "a circumstance on which something depends."

Most researchers (V.I. Zagvyazinsky, M.V. Koposova, A.V. Moskvina, A.P. Tryapitsina and others) note that creativity in education is possible only under certain conditions, namely:

search needs; positive motivation, variability of ways to organize the assimilation of program material in accordance with the individual abilities of students;

co-creation as the leading type of educational interactions and relationships;

the priority of the integrity of perception, attitude, evaluation of another person and oneself;

awareness and leveling of clichés and stereotypes of thinking and self-expression.

The most significant pedagogical conditions for the development of children's creative activity, according to modern researchers, are:

Change in the nature of the activity;

Atmosphere of goodwill in the educational activities of children;

Team formation.

When organizing artistic and creative activities, it is necessary to remember the importance of choosing a strategy for interaction between the teacher and the students. In practice, as the researchers note, two ways are usually used when choosing an interaction strategy:

development from the outside, as interference in the inner world of the individual, imposing on him the developed methods, norms of activity and behavior;

development from within, as stimulation of activity, independence, responsibility, manifestation of respect for the individual, disclosure of the possibilities inherent in it, development of creative abilities.

The main condition for the creative development of the individual lies in herself, in her openness to constructive creativity, in psychological security and her freedom.

At the same time, it is necessary to take into account the conditions that negatively affect the course of creative activity, namely: situational and personal.

Situational conditions include: time limit, stress, a state of increased anxiety, a desire to quickly find a solution, weak or strong motivation, setting a specific solution method, self-doubt caused by failures, fear, increased censorship, etc.

To personal conditions: conformism (agreement), self-doubt, emotional depression, dominance of negative emotions, low self-esteem, increased anxiety, personal defense mechanisms, etc.

Therefore, it is important to form qualities conducive to creative thinking: self-confidence, dominance of emotions of joy, risk-taking, a sense of humor, lack of conformity, fear of seeming strange, unusual, love for fantasizing and making plans for the future, etc.

These features, characteristic of a creative person, are formed only thanks to the democratic style of communication. In this case, the teacher takes into account the individual characteristics of the individual, her experience, the specific needs and opportunities, and he must also be objective in his assessments, versatile and proactive in contacts with children.

The most fruitful is communication based on joint enthusiasm for creative activity. The basis of this style is the high professionalism of the teacher. After all, the enthusiasm for creative search is the result of not only communicative activity, but also, to a greater extent, the attitude to pedagogical activity in general.

The most important condition for the organization of artistic and creative activity of schoolchildren, according to many teachers, is the creation of a creative atmosphere, which is created not only by nurturing curiosity, a taste for non-standard solutions, the ability to think non-trivially, but also by the need to educate readiness to perceive the new and unusual, the desire to use and implement creative achievements other people.

.2 Creative tasks as a means of developing creative abilities in younger students

Job training is a prerequisite and component education, upbringing and development of the child at the primary stage of the general education school is implemented by means of a variety of lesson and extracurricular activities students.

The purpose of labor training is to educate the personality of students on the basis of the formation labor activity.

M. Levina points out that in the lessons of labor training at school or at home with their parents, and later on their own, children can learn many exciting and useful things: working with paper and embroidery, sewing and making crafts from natural materials, woodworking and modeling from plasticine, they can learn how to burn and sew soft toys, try themselves as a cook or cook, or maybe a child will like to be an actor in a puppet theater and at the same time - the owner of this theater.

Labor is the creative work of a child with various materials, during which he creates useful and aesthetically significant objects and products to decorate everyday life (games, labor, recreation). Such work is a decorative, artistic and applied activity of the child, since when creating beautiful objects, he takes into account the aesthetic qualities of materials based on existing ideas, knowledge, practical experience acquired in the course of labor activity and in art classes.

The content of labor training lessons for first-graders is:

Work with paper, cardboard (application from paper of different textures, in combination with fabrics, natural materials, production of decorative panels, volumetric and planar objects and structures for decorating holidays and entertainment, decorations, souvenirs);

work with natural material (making small and large sculptures, making decorative bouquets from dry and living plants);

working with clay (creating decorative ornaments, making small sculptures, souvenir toys, doll dishes);

work with fabric, threads (decorative appliqué from fabric, weaving from synthetic yarn, making decorative ornaments and household items, clothes, theater and decorative toys and souvenirs from synthetic fabrics).

For younger students, the most accessible and easily processed material is paper. Working with paper is working with a material that has its own face, with constructive and plastic properties. Making paper products contributes to the development of the muscles of the hands, improves the eye of the child, prepares him for the development of writing skills, promotes the aesthetic development of children, their acquisition of the ability to correctly select combinations of paper colors, shapes and sizes of component parts.

First-graders made various 2D and 3D shapes out of paper. The guys explored the possibilities of using paper by bending, squeezing, tearing it apart, but then combining them and getting a new shape.

The children really liked to make products from strips of paper. This type of work creates great opportunities for children's creativity.

Usually, when receiving paper strips of different lengths and widths, the children immediately began to involuntarily twist, twist, twist, cross, connect one with another, as a result of which various compositions arose. Delightful snow-white paper plastic, a magical play of light and shadow, endless creative possibilities and prospects for its use make one wonder and look for new ways to solve artistic images and plots.

If you take two strips of paper of the same color but different sizes, make a ring out of each, connect them, and then add a little imagination, you can make animals for theatrical performance (chicken, pig, cat, hare, etc.) . A cone or a cylinder can be used as a basis for making figures of animals and people.

In natural materials, the guys noticed the beauty and consistency of forms, harmony, in addition, they recognized characteristics materials: smell, color, shape, structure. In the future, having a certain experience, they independently answered various questions: what is hard, juicy, soft? What grows on pines and firs? What trees are deciduous and coniferous? What grows in the meadow, in the field? What happens big and small, rounded and sharp? Children not only enriched their vocabulary, but also developed analytical thinking: they sought to correlate their crafts with what they saw, to give them figurative names. There is practically no such natural material (with the exception of poisonous plants) that could not be used for crafts, and there are no established rules on how to use it.

Particularly distinguished were the lessons of working with clay - modeling. Modeling lessons contributed to the formation of such personality traits that are not specific for a person (necessary only for this and similar work), but generally significant. These classes develop the mental abilities of students, expand their artistic and polytechnical horizons, form moral ideas and contribute to the formation of a creative attitude to the world around them. Particular attention was paid to decorative and applied arts. Children were happy to sculpt decorative toys based on folk patterns, dishes, wall reliefs, decorative masks. First-graders got acquainted with folk crafts. In addition, all these products very clearly gravitate towards real arts and crafts and are connected with life.

Compared with the processing of other materials, working with textiles has its own characteristics. Working with fabric allows you to put into practice interdisciplinary connections. So, students significantly expanded their horizons, vocabulary, got acquainted with the names of tools, materials, labor processes. Making patterns contributed to exercises in calculations, in comparing and working out the concepts of "more-less", "narrower", "shorter", "longer". In the manufacture of products for the pattern and processing of parts representing various geometric shapes (squares, rectangles, circles), the geometric material studied in mathematics lessons was fixed. When taking measurements, students dealt with numbers. They compared the data obtained with the dimensions of the fabric, performed various calculations. Needlework lessons are also interconnected with drawing lessons. The children learned to select the colors of threads for embroidery, to learn that depending on the features of the product, its design and purpose, fabrics of the appropriate quality and color are selected. In addition, the selection of a pattern for embroidery, the ability to beautifully finish the product is of great importance. Practical exercises in the processing of textile materials develop the eye. The quality of work in this case largely depends on the accuracy and accuracy observed when drawing up a pattern, when marking, cutting, stitching and other operations. The processing of textile materials, in comparison with other materials, requires more painstaking and hard work.

Work on sewing and embroidery, weaving attracted children with its results. How much joy the younger schoolchildren received from the bookmarks and napkins they made with their own hands! Making gifts for parents, friends, kids brought no less pleasure. The list of practical works includes products that, according to their purpose, can be grouped as follows: household, educational, gaming souvenirs and gifts.

Thus, properly organized labor gives children in-depth knowledge of the quality and capabilities of various materials, helps to consolidate positive emotions, stimulates the desire to work and master the peculiarities of craftsmanship, and introduces them to folk decorative art. Therefore, there is every reason to consider labor training as important element harmonious development of children.

At the lessons of labor training, it is necessary to create a relaxed atmosphere that ensures the manifestation of the creative abilities of each student. Business, friendly relations with all the children created a joyful, creative mood in the class.

An important place in the lesson was occupied by informative conversations. During the conversations, she offered to remember, to imagine something related to the creation of our future crafts, tried to captivate the upcoming work.

The emergence of artistic images and their further expression with the help of various materials is a complex, interesting and multifaceted process. An important role is played by students' deep knowledge of the depicted object, phenomenon or event.

The conversation allowed students to more accurately select the material, composition, coloring of a given topic, express it through their own understanding, showing creative invention and imagination.

Of course, it was impossible to do without individual comments and encouragement. I tried to make them in such a way that they helped to acquire the ability to analyze their actions, correct mistakes, and accurately and accurately complete the task.

The creation of new aesthetically significant objects also requires the teacher to have special knowledge and skills, without which he pedagogical activity cannot develop successfully. These include elementary knowledge of technical aesthetics, artistic vision of an object or group of objects, their means of expression, the formation of students' ability to capture the features of the constructive structure of an object, the correspondence of color, shape, material, the ability to imagine what they saw in a new composition and translate it into a product.

It is important to constantly analyze children's work in order to determine the backlog of individual students, as well as evaluate their work. Teachers often approach this stage of the lesson formally, which is a mistake. From the first lessons, children should get used to discussing their work from different points of view. This will tell them what to look out for next time. The whole class should be involved in the discussion. However, one should be very careful with critical assessments. It is better to focus on real achievements, on positive shifts. Tactless criticism (even if objective) can quickly discourage the desire to improve in such a fragile area as creativity.

Our class coped with this task with ease, showing a good level of imagination development.

The children's work was analyzed according to the following parameters:

By content . How is the work done? According to the model, what kind of creativity was used in creating the image. How typical is the image.

By material . How is the material selected? To what extent does it correspond to the idea, technology? How were its properties, color, shape used?

By execution. How neat is the job done? What is the level of independence? What techniques and technologies were used? What tools and how competently used?

The speed and individual pace of the student's work.

Emotional and aesthetic attitude to work . How emotionally does the child relate to the task, to the process, to the product? What types of tasks do you prefer (subject, plot, decorative)?

What materials and technologies evoke a greater emotional response?

How do children evaluate their own work and the work of others?

According to the level of creative activity.

What new things did the children bring to the image, to the technological process?

To what extent did he manage to show his personal vision?

Practical tasks were performed individually or in groups, sometimes with a preliminary discussion and necessarily with an assessment (check) of the result. A number of tasks were offered to students for homework.

"Observation"

This block of tasks forms the activity of observation, develops the ability to analyze, teaches them to independently perceive the task, plan their actions:

read the diagram, explain its implementation, find similarities and differences between the products offered;

identify and name the techniques used to create this product;

identify the parts of the whole, determine their number

explain the drawings, the purpose of the lines, the dimensions,

compare the patterns with the finished image; think about how to correlate the parts of the whole;

consider what the new technique is, and explain its name;

learn a new technological technique from drawings;

find a given object at home, examine it and describe it in class.

"Opening"

These tasks outline the area of ​​new knowledge that is not presented to the student in finished form. It can only be comprehended by mental effort or practical experimentation. The answers to these questions often do not have an unambiguous solution, and the results of experiments can be very diverse. Such tasks contribute to the development of intuition, self-confidence and are as close as possible in their essence to life situations- when there is a question, but the answer is not known:

guess how to complete these details;

think at what stage and how you need to modify the scheme to achieve a different result;

experiment in a given direction to determine the properties and qualities of the material (or to change them);

find another way to obtain a similar result;

think about how to change the dimensions or proportions of the product;

draw a diagram for the manufacture of a product according to the presented end result;

improve this design;

experimentally determine the amount of material needed for this work;

invent a new way of doing things by combining two or more techniques into one.

"Replacement"

These tasks allow you to better understand the properties of materials, stimulate the search for new ones, and expand your understanding of the possibility of using the technology:

think about what types of materials from your collection you can use in this work;

perform this technique using another material;

find or make yourself the necessary tools or devices to achieve the desired effects in the processing of the material;

look for non-standard materials for your work (for example, from a different group of materials)

think about the properties of the material used in this work.

"Options"

These questions suggest "how you can modify the proposed task, simplifying or complicating it in accordance with your capabilities - the level of preparedness, emotional preferences, etc.:

make changes to the pattern, design, method of manufacturing this product;

create another image (object) from the given details;

try another version of the same technique;

add details to the proposed composition;

offer options for the design of work;

choose a different finish.

"Creation"

The ability to perform creative tasks, on the one hand, is determined by the level of creativity of the student; on the other hand, the constant and systematic performance of such tasks of varying degrees of complexity contributes to an increase in this level:

come up with your own pattern, new design, model, composition that can be done using this technique;

give a generalized name for a series of products or techniques;

figure out how to use the leftover material;

invent an object based on "its skeleton;

make a series of products united by a single idea and style;

determine the scope of the technology;

create a new image, proposed in verbal form;

make a product according to your own sketch;

perform the same image, but in a different technique;

find the objects that are most suitable for the image in this way.

The emergence of an artistic image and its further expression in the language of any kind of art is a complex and multifaceted process. An important role here is played by the students' deep knowledge of the depicted object, phenomenon or event. Therefore, I tried in every possible way to stimulate the comprehensive acquaintance of children with the object of the image as follows:

encourage children to collect Additional information about the object;

invited children to associate an object with a topic being studied at the same time in another subject; to analyze the intended purpose of the craft: what is its meaning, benefit, to whom it is intended, how, in this regard, it should be framed.

This combination of proposed techniques helped to make the lessons varied, positive motivation sustainable, and actions more meaningful.

An important point of the lesson is the analysis and evaluation of children's work. Often teachers formally approach this stage of the lesson, which in my opinion is a big mistake. I am sure that from the very first lessons, children should get used to discussing their work from different points of view. This will tell them what to look out for next time. Students should also be involved in the discussion process. However, one should be very careful with critical assessments. It is better to focus on real achievements, on positive shifts. And tactless criticism (even if objective) can quickly discourage the desire to improve in such a fragile area as creativity.

In the course of the formative experiment, a complex of aesthetic and pedagogical conditions was created (educational-design, socio-emotional, didactic-heuristic, individually creative), which effectively contributed to the expansion of the range of activities of various processes and types of creative thinking, i.e., its development.

Almost all activities are play-based. But the game is used only as a mechanism for a deeper entry into the essence of the task. It allows the child to perceive complex and difficult work as interesting and understandable.

There was an atmosphere of friendship and cooperation in the class.

Children gradually learn to work in pairs, groups, perform collective work. Since the independent distribution of activities in a team is one of the greatest difficulties, the teacher introduces children to joint creativity gradually.

Conclusion

The current level of development of society, the improvement of production, the rate of change in its technological and material and technological base put before the education system, including its initial link, the task of forming a creative personality. The ability to independently make original decisions, determine the direction of one's activities, ensure one's economic independence on the basis of continuous education and training - these skills will help to adapt to rapidly changing conditions of life and production.

It is difficult to imagine a sphere of life in which a creative person would not be in demand. And the artistic and cognitive activity of younger students is the basis for the development of children's creative abilities.

Imagination significantly expands and deepens the process of cognition. It also plays a huge role in the transformation of the objective world. Before changing something practically, a person changes it mentally.

It should be noted that creativity is one of the most important mechanisms child education and self-education. Attention should be paid not to the products of creative activity, but to the formation of abilities.

The system of creative tasks is open system, suggesting the presence of tasks in it that require going beyond the curriculum; solving tasks of increased complexity by students; use of extracurricular experience and interests of schoolchildren; interdisciplinary transfer and synthesis of knowledge and methods of activity and, most importantly, independent finding of problems, setting goals for creative cognitive activity.

Apparently, this is the path of collision of the creative side of the intellect, the path of development of inventive and research talent. Our task is to help the child embark on this path. This is what the organization of artistic and cognitive activity of younger schoolchildren serves.

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Theme of my pedagogical experience"Development of creative abilities of younger students"

At present, in all areas public life creative, active, mobile, enterprising people are in demand. A modern person should be able to observe, analyze, make suggestions, be responsible for the decisions made. Therefore, aboutbottom of pedagogical tasks Today is the introduction into the educational process of such technologies that help children not only acquire certain knowledge, skills and abilities in a particular field of activity, but also develop their creative potential.

This contributes to the development of the student: he becomes more independent in his judgments, has his own point of view and is able to defend it reasonably. Efficiency increases. But the most important thing is that the child develops his emotional sphere, his feelings, his soul. And if his emotions are developed, then his thinking will develop. And a thinking person is the person who must leave the walls of the school.

As you know, creativity - this is a human activity aimed at creating a new, original product in the field of science, art, technology and production.creative process- it is always a breakthrough into the unknown, but it is preceded by a long accumulation of experience, knowledge, skills and abilities, it is characterized by the transition of the number of all kinds of ideas and approaches into a new peculiar quality.

Creativity presupposes that a person has certain abilities. Capabilities - these are the psychological characteristics of a person on which the success of acquiring knowledge, skills and abilities depends, but which themselves cannot be reduced to the presence of this knowledge, skills and abilities.

Creative abilities do not develop spontaneously, but require a special organized process of training and education, revision of the content curricula, creating pedagogical conditions for self-expression in creative activity.

Psychologists have long come to the conclusion that all children are talented. Creativity inherent and exist in every person. The task of the school is to identify and develop these abilities in accessible and interesting activities.

Develop creativity? What does it mean?

• Firstly, it is the development of observation, speech and general activity, sociability, a well-trained memory, the habit of analyzing and comprehending facts, will, and imagination.

• Secondly, it is the systematic creation of situations that allow the student's individuality to express itself.

• Thirdly, it is the organization of research activities in the cognitive process.

Work on the formation and development of the creative abilities of younger students must be carried out at every lesson and after school hours. Invaluable help in solving this issue is provided by the lessons of mathematics,which ensure the improvement of the child's personality, give a holistic view of the world and a person's place in it, contribute not only to the development of creative inclinations and inclinations, but also form the readiness of children for further self-development.

I think that in order for a younger student to develop creative thinking, it is necessary for him to feel surprise and curiosity. On initial stage tasks for the development of memory, attention, imagination, observation, as the basis for the development of creative abilities, help us a lot in this. In modern textbooks of any educational and methodological set of these tasks, a large number.

Puzzles, crossword puzzles, puzzles are used ...

At the next stage, we offer partial search tasks of different levels. These are tasks for identifying patterns: - divide the figures into groups, - find the "extra" pattern, - find the pattern and draw all the following polygons. - by what principle these figures were combined, etc.

For the development of creative abilities of students, such partial search tasks that contain several solutions are of great importance.

When compiling tasks, you can use meta-subject relationships.

Gradually, we come to solving more complex non-standard tasks. Non-standard tasks contribute to the formation of a positive attitude to tasks of a problem-search nature, critical thinking and the ability to conduct mini-research; contribute to the manifestation of a higher degree of independence in the formulation of questions and the search for solutions; lead to the actualization of students' internal motivation, which is manifested in the preference for difficult tasks, curiosity, the desire for mastery and increased self-confidence.

Such tasks require greater or complete independence and are designed for search activities, an extraordinary, unconventional approach and creative application of knowledge.

An example of such tasks can be a variety of games for drawing up silhouette figures according to their own design:
Chinese game "Tangram" (from a square), "Vietnamese game" (from a circle), "Columbus egg", "Amazing triangle".
Back in the 19th century, the German teacher F. Fröbel founded an integrated course for teaching mathematics using origami, on the basis of which one can improve and strengthen geometric knowledge and skills, as well as develop the creative abilities of students.

I want to invite you to show your creativity. (Practical work)

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.

You can talk a lot about mathematics for a long time, but an important role for the development of creative abilities is played by the subjects of the literacy cycle, this is the Russian language and literary reading.

In order for children to successfully master the basic speech skills and abilities, a huge work of the teacher is necessary. Often used in class didactic games. It contributes to the creation of an emotional mood among students, causes a positive attitude towards the work performed, improves overall performance, develops observation, creative abilities. The didactic game can be used at various stages of the lesson.Didactic games are especially common at the stages of repetition and consolidation.

The game "Pick up a pair" is of great interest to the children. Its purpose is to develop the ability to correctly correlate the names of objects and actions.

Each student has a card on the desk, on which the words are written in a column:snowstorm, thunder, sun, lightning, wind, rain, snow, clouds and strips of paper with the words dripping, floating, falling, sweeping, thundering, baking, etc.

For each word denoting the name of the subject, students select a word denoting an action. And then the task is given: to replace each action with its possible option.

You have cards with words on your tables

Black, flies, cowardly, crawls, hare, beautiful, beetle, dragonfly, jumps.

Divide them into groups.(Check the task: two ways to solve)

To enrich speech, work with various speech units is used. For example, with phraseological units. (do work)

Huge opportunities for the development of creative abilities are given by the subject of literary creativity.

There are practical tasks

• Illustrations for the text.
• Compilation of filmstrips based on the work
• Modeling and application.
• Homemade books

Speech assignments

• Continuation of the work (inventing your own ending)
• writing

Work on writing begins with the guys with a simple game "I'll start, and you continue"

Though I'm not timid boy, I was frightened *********. (Frog)

We read books together.

With dad every weekend.

I have two hundred pictures

And dad's - ... (none).

In the future, children are happy to compose riddles, compose quatrains, write thematic essays, fairy tales. All this is arranged in baby books.

Children's creativity is especially evident in dramatization games.
The creativity of children in these games is aimed at creating a game situation. Creative play teaches children to think about how to implement a particular idea. In a creative game, as in no other activity, valuable qualities for children develop: activity, independence.

Another technique in my work is "Drudles"

The basis of a drudle (puzzles for the development of imagination and creativity) can be any scribbles and blots. Drudle is NOT a completely finished picture that requires an answer to the question: “What is drawn here? »

Each answer develops imagination and creative thinking.

Children and creativity are practically inseparable concepts. Any child by nature is a creator, and sometimes he does it much better than we adults do.

There are no disabled children. It is only important to teach them to believe in themselves, to reveal their abilities. This is the task of every teacher.

And for a teacher - one desire is not enough, one must patiently and consistently master pedagogical skills, to study the mental characteristics of schoolchildren, to anticipate possible difficulties, to take into account the characteristics of children. You must always remember that any activity of the child needs to be evaluated, rewarded, encouraged.

Thoughtful design of the class, children provided with everything necessary, the availability of visual aids, handouts - all this is of great importance for the successful development of the child. The friendly tone of the teacher, creating a benevolent atmosphere, psychologically prepares students for work - increases the motivation for creativity. And this leads:

• to improve the quality of students' knowledge,
• acquiring the skill to independently organize their educational activities,
• activation of creative and cognitive activity of students,
• formation of positive personal qualities student
• formation perceived need in a healthy lifestyle.

I want to end my speech with the words of Maxim Gorky

“You need to love what you do, and then labor rises to creativity”