Fantastic landscape using monotype technique. Master class in monotype technique for children “Crystal Winter”

Elena Zhemchuzhnikova
Development of creativity in preschoolers

E. V. Zhemchuzhnikova

Development of creativity in preschoolers in the context of the implementation of the Federal State Educational Standard

Creativity is digging deep, looking both ways, hearing smells, looking through, reaching out to tomorrow, listening to a cat, singing in your own key.” J. Guilford

Modern society places more and more demands on the individual. And especially more often, along with other qualities, such a personality trait stands out as creativity. In Russian the word « creativity» appeared not so long ago, and it is used mainly in relation to new ideas and unexpected phenomena. IN in a broad sense creative approach is the ability to see ordinary things from an unexpected angle and find original solution For typical problem. There is an opinion that creativity- This is a natural ability that is initially inherent in every person, but as they grow older, it is gradually lost under the influence of educational and training programs. Any deposits required develop, and this applies not least to creativity. Any creative inclinations, any natural craving for creativity requires special activities that will stimulate the child to create something new and help him in the future to more fully use his potential. Some people mistakenly understand development The creative abilities of children are only active in various types of art - drawing, music, dancing. In fact, this direction is much broader, and various sections and circles are an important, but far from the only part of it. So if we want our children to grow up capable of unexpected and innovative solutions, we should start doing this with before school age . From three to seven is the best age for development non-standard thinking. At this time, children learn to use and control their imagination.

New federal state standards suggest that when moving from preschool level of education to primary school education, the child must have developed imagination , initiative, independence, curiosity. Adults (teachers, parents) should definitely help development every child has these qualities, without which future life V modern world will not be able to become successful. The task of modern preschool educational institution create conditions for systematic comprehensive (with the involvement of all specialists from the preschool educational institution) work on development of creativity in preschool children.

We assumed that the formation of creative abilities preschoolers will be successful under the following conditions.

If a program for the formation of creative abilities is carried out, including work with preschoolers, parents and teachers.

Encourage play to become and remain a leading activity preschooler.

Creation development environment: the teacher must create in kindergarten favorable conditions to satisfy the child's natural desire for creativity, as well as the availability of materials necessary for creativity, they must be accessible to the child.

Use the project method in your work, when children comprehend the entire technology of solving problems - from posing a question to presenting the result.

Working with children will include different types creative activities (visual, artistic and speech, musical, plastic and others).

Develop The child’s attention is focused specifically on unimportant things.

Teach the child to reflect and express his fantasies and thoughts in speech form, which means constantly talking to him.

Develop search activity in all areas: stimulate asking questions, offering answers, taking actions to change the state of the subject, making intermediate conclusions; teach to abandon unsuccessful ideas and continue searching further.

The main thing for a teacher is to remember a number of rules:

Encourage the child’s independent thoughts and actions if they do not cause obvious harm to others;

Do not interfere with the child’s desire to do or depict something in his own way;

Respect the student's point of view, whatever it may be "stupid" or "wrong"- do not suppress her with your "correct" attitude and opinion;

Invite children to make more free drawings, verbal, sound, tactile and taste images, interesting movements and other spontaneous creative manifestations during classes;

Non-judgmental attitude towards children's creativity- that is, do not apply an explicit system for evaluating the child’s products, discuss individual content points of these works, do not compare with other children, but only with himself, with his past experiences;

Don't laugh at unusual images, words or movements of the child, since this critical laughter can cause resentment, fear of making a mistake, doing something "not this way", and suppress in the future the spontaneous desire to experiment and search on your own;

create and play with children - as an ordinary participant in the process;

Do not impose your program of images and actions, manner of depiction and thinking, your faith, but, on the contrary, try to understand the logic of the child’s imagination and integrate into it;

Pay more attention to organizing the creative process of creating something, maintaining this process, and not to the results;

develop a sense of proportion in children’s attitude towards any type of creative activity, offering a variety of interesting tasks, including psychophysical warm-ups, regular gymnastics exercises, etc.; this helps prevent monotony, overstrain and overwork;

Maintain a predominantly positive emotional tone in yourself and in your children during classes - cheerfulness, calm concentration and joy, faith in your own strengths and in the capabilities of each child, a friendly intonation of voice.

To develop the creativity of preschoolers, the teacher himself must be creative: constantly overcome inertia, patterns and formalities in teaching, strive to discover and apply new methods in teaching, forms creative communication, self-improvement. During professional self-improvement, the teacher needs develop contain constructive personal attitudes that help children maintain confidence in their significance, in the interestingness of their ideas and images, in the fact that independent testing and search is an important and worthy of respect process useful for personal self-development. If the teacher has this kind of attitude, which will always manifest itself in specific work, the child’s natural creative, testing attitude towards himself and towards surrounding nature will not fade away, but, on the contrary, will be supported and consolidated. All his efforts should be aimed at development, first of all, the child’s personality, his individuality; to find the most optimal ways to development children's creative potential (organizing discussions, dialogues, setting new goals, questions and problems, solving variable problems, reasonable silence, advice, etc.). This task faces the teacher on a par with the task of developing preschoolers certain skills and abilities, telling them the amount

Work on developing creative abilities will be more effective if parents also take an active part. There is no doubt that it is the formation of creative abilities in preschoolers will help us"transform" each child into a competent person capable of adequately thinking, feeling and acting in a cultural society.

CHAPTER 1. THEORETICAL ANALYSIS OF APPROACHES TO STUDYING THE DEVELOPMENT OF CREATIVITY IN PRESCHOOL AGE

1.1.Scientific approaches to the study of creativity in foreign and domestic psychology……………………………..………….6

1.2. Psychological features of the development of creativity in preschool age………………………………………………………….....…14

Conclusions on the first chapter………………………………………………….20

CHAPTER 2. EMPIRICAL STUDY OF THE FEATURES OF CREATIVITY DEVELOPMENT IN PRESCHOOL AGE

2.1. Organization and methods of research…………………………………..21

2.2 Results of an empirical study of the features of creativity development………………………………………………………...23

2.3. Results of an empirical study of the characteristics of creativity development depending on the task……………………………29

Conclusions on the second chapter…………………………………………………..35

CONCLUSION.……………………………………………………………..38

LITERATURE…………………………………………………........ 41

APPLICATIONS………………………………….……………………….....43

Introduction

In recent years, interest in the development of creativity has increased in domestic pedagogy and psychology. The relevance of its study is determined by the changes that have occurred in the social situation of modern Russia. Under the current conditions, the requirements for such personality qualities as openness to new experiences and a creative attitude to reality have increased. To do this, it is necessary to activate creative potential, develop creative abilities, creativity. It is advisable to develop their abilities, starting from the very early age. Therefore, in preschool education, special attention should be paid to the development of a creative, and not just a reproductive, style of thinking.

In modern pedagogy and psychology, few theoreticians study the problem of the development of creativity. The problems of creativity are mainly dealt with by foreign researchers D. Gilford, E. Torrance, S.A. Mednik and others. In domestic psychology and pedagogy, problems of creativity are dealt with by V.N. Druzhinin, V.S. Yurkevich, A.M. Matyushkin, Ya .A. Ponomarev and others. They study the phenomenon of creativity from different angles, but there is still no consensus on the nature of creativity, its criteria and conditions of development.
With all the variety of definitions of creativity (as the ability to generate new ideas, abandon stereotypical ways of thinking, the ability to formulate hypotheses, generate new combinations, etc.), its overall characteristic is that creativity is the ability to create something new, original .

Views on the nature of creativity have changed: if at first it was understood as a regressive thought process, then later it began to be viewed as a higher thought process. In children, manifestations of creativity are quite widespread and most experts attribute to it such cognitive qualities as fantasy and creative imagination. The development of creativity occurs in creative activity.

Many researchers (V.N. Druzhinin, V.S. Yurkevich, P. Torrance, etc.) believe that the sensitive period for the development of creativity is preschool age, namely 3-5 years; with age, children experience a decrease in creativity, which occurs due to the child entering school. This decrease is temporary. After certain period, which some researchers call “latent”, some schoolchildren experience a pronounced increase in creativity. In this regard, many researchers point to a nonlinear type of development of creativity, in which there are two peaks, one of which occurs in preschool age, the other appears after a period of such decline.

It should be noted that there is no consensus among researchers regarding the age range for these two peaks, especially since the decline in verbal and figurative creativity can occur at different times. Most often, the period of decline occurs at the stage of primary school age.

Thus, studying the development of creativity in preschool age seems relevant; our results can be used as a basis for developing a program for the development of creativity. Knowledge of the psychological characteristics of the development of creativity will help in developing recommendations addressed to parents and teachers of preschool educational institutions.

Purpose of the study: identify features of the development of creativity in preschool age

To achieve the goal of the study, the following tasks are solved:

Conduct an analysis of psychological and pedagogical literature, on the basis of which to identify the main approaches to understanding creativity in foreign and domestic psychology.

Explore the development of creativity in preschool age.

To identify features of the development of creativity in preschool children.

Compare the features of manifestation of creativity in preschool children.

Object of study is a manifestation of creativity in preschool children

The subject of the study is the process of developing creativity in preschoolers

Hypothesis in preschool age, the most strongly expressed indicator of creativity is fluency, that is, the speed of generating ideas expressed in verbal formulations.

Research methods:

- theoretical methods: analysis of psychological, pedagogical and socio-psychological literature on the research problem;

-empirical methods: testing

During the study, to identify the characteristics of the development of creativity in preschool age, we used a short version of the Torrance test, “diagnostics of verbal creativity.”

Research base: The study was conducted on the basis of the municipal educational institution "Kindergarten "Rainbow". The subjects were 15 preschool children of different sexes, aged 5-6 years.

Chapter 1. Theoretical analysis of approaches to studying the development of creativity in preschool age

1.1. Scientific approaches to the study of creativity in foreign and domestic psychology

In our work, we do not seek to consider all available concepts for studying this phenomenon in domestic and foreign psychology, but will focus only on the most influential, in our opinion, helping to see the current state of the problem and the trends in its development.

In order to consider the problem of the development of creativity in preschool age, let us first explain what the general concept of creativity is, what is its structure and nature.

In the 60s, creativity began to be studied independently of intellectual abilities as an ability that reflects an individual’s ability to create new concepts and develop new skills. This is due to the emergence of information about the lack of connection between traditional tests of intellectual abilities and the success of solving problem situations. It has been recognized that the latter depends on the ability to use task-given information in different ways at a fast pace. This ability is called creativity.

Creativity has been studied in various directions, both from an analytical perspective life experience and individual characteristics of a creative personality, and from the position of analyzing creative thinking and its products, from this position we will consider the development of creativity in our work. Analyzing the features of the development of creativity in preschool age according to such creativity factors as: flexibility, originality, fluency.

The concept of creativity as a universal cognitive creative ability gained popularity after the publication of the works of J. Guilford. First of all, he studied the dependence of creativity on intellectual abilities. But he also pointed out fundamental difference between two types of mental operations: convergence and divergence. Convergent thinking (convergence) is actualized in the case when a person solving a problem needs to find the only correct solution based on many conditions. Thus, Guilford identified convergent thinking ability with test intelligence, that is, intelligence measured by high-speed IQ tests.

Divergent thinking is defined as a “type of thinking” that searches in different directions. This type of thinking allows for varying ways to solve a problem and leads to unexpected conclusions and results. Most creativity tests are aimed specifically at identifying divergent abilities. The developed creativity tests have the following criteria:

they do not require a specific number of responses;

they evaluate not their correctness, but their compliance with the task;

encourage the search for non-trivial and unexpected answers;

the number of ideas arising per unit of time;

the ability to switch from one thought to another;

the ability to produce ideas that differ from generally accepted views;

sensitivity to problems in the surrounding world.

Guilford considered the operation of divergence, along with the operations of transformation and implication, to be the basis of creativity as a general creative ability.

Guilford identified four main dimensions of creativity:

1). Originality, non-triviality, unusual ideas expressed, a pronounced desire for intellectual novelty, the ability to produce distant associations, unusual answers;

2). Semantic flexibility - the ability to identify the main property of an object and propose a new way of using it;

3). Figurative adaptive flexibility, i.e. the ability to change the perception of an object in such a way as to see its new hidden sides.

4). Semantic spontaneous flexibility is the ability to produce a variety of ideas in an unregulated situation.

General intelligence is not included in the structure of creativity.

Guilford also mentioned six dimensions of creativity:

Ability to identify and pose problems;

ability to generate more ideas;

flexibility - the ability to produce a variety of ideas;

originality - the ability to respond to stimuli in a non-standard way;

the ability to improve an object by adding details;

the ability to solve problems, that is, the ability to analyze and synthesize.

Based on these premises, Guilford and his associates developed the Aptitude Research Program tests, which test primarily divergent performance.

Guilford's theory was further developed in the works of Torrance.

Torrance defines creativity as the process of problem solving, beginning with the emergence of sensitivity to problems (a sense of scarcity or inadequacy of available information), identifying and defining (formulating) problems, putting forward hypotheses about possible solutions, testing them, changing or rejecting them, putting forward and testing new hypotheses , finding solution(s) and formulating, interpreting and communicating (publication) the results.

Considering creativity as a process allows us to identify the structure of creativity (as an ability), the conditions that stimulate this process, and also evaluate creative achievements. The creativity tests developed by Torrance use models of creative processes that reflect their complexity in various areas of activity: verbal, visual, sound, motor. The tests assess creativity in terms of fluency, flexibility, originality and elaboration of ideas.

The most consistent criticism of the works of Guilford, Torrance and their followers was given by M. Wallach and N. Kogan. They tried to separate the concepts of creativity and intelligence even more strongly than Guilford did, introducing a division into divergent and convergent processes, which, for all their differences, still represent different planes of the same cubic structure. Based on their experimental studies, M. Wallach and N. Kogan came to the conclusion that different ratios levels of development of intelligence and creativity. They identified and described differences in the ways of adapting to external conditions and solving life problems among four groups of people:

WITH high level creativity and intelligence;

With low levels of both indicators;

With a high level of creativity and a low level of intelligence;

With a high level of intelligence and a low level of creativity.

The separation of convergent and divergent processes is far from the only approach to creating theories and tests of creativity. The well-known test of distant associations by S. Mednik is based on the associative theory of the creative process he developed; he postulates that creativity is based on the ability to go beyond stereotypical associations and the ability to work with a wide semantic field.

K. Urban's analysis of trends in American and European studies of creativity led him to the conclusion that considering creativity from any one position - either from the position of cognitive theory or from the position of personality theory - inevitably leads to insoluble contradictions. Therefore, when creating his theory of creativity, which he called the “4P” theory, he tried to summarize all aspects of the understanding of creativity: a problem that needs to be solved creatively; the process leading from the statement of the problem to the result of its solution; the product of this creative decision and, finally, the personal (personal) qualities of the creator. The author suggests that all these aspects, in interaction with external prerequisites and conditions of creative thinking, should give a comprehensive idea of ​​creativity and its development. The author considers external influences to be economic, cultural, national and other factors of the micro (family, school, region), macro (society, country) and megaenvironment (nature, history).

The “4P” model allows the author to analyze the factors and conditions for the development of creativity in any environment, educational system and professional activity. At the same time, he believes that all efforts to develop creativity should be aimed at broadening the child’s horizons, since external influences alone cannot make someone creative. A person must make himself like this himself, but not according to someone else’s recipes, but on the basis of his own questions and his own activity. Since in the development of creativity all internal and external factors are interdependent, it is impossible to formulate and consider individual issues in isolation from the whole.

Another view of creativity is presented in one of the most recent concepts of creativity. This is the so-called “investment theory” proposed by R. Stenberg and D. Lavert. These authors consider a creative person to be someone who strives and is able to “buy ideas low and sell them high.” That is, the task of a creative person is to correctly assess the development potential of ideas and their possible demand. Creativity, from Stenberg’s point of view, is the ability to take reasonable risks, the willingness to overcome obstacles, internal motivation, tolerance for uncertainty, and the willingness to resist the opinions of others. They attach no small importance creative environment, believing that without it creativity is impossible.

Summarizing research in the field of creativity, F. Barron and D. Harrington made the following generalizations of what is known about creativity:

1. Creativity is the ability to adapt adaptively to the need for new approaches and new products. This ability also allows one to become aware of new things in existence, although the process itself can be both conscious and unconscious in nature.

2. The creation of a new creative product largely depends on the personality of the creator and the strength of his internal motivation.

3. The specific properties of the creative process, product and personality are their originality, consistency, validity, adequacy to the task and another property that can be called suitability - aesthetic, ecological, optimal form, correct and original at the moment.

4. Creative products can be very different in nature: a new solution to a problem in mathematics, the discovery of a chemical process, the creation of music, a painting or a poem, a new philosophical or religious system, an innovation in law, a fresh solution to social problems, etc.

In Russian psychology, the most holistic concept of creativity as a mental process was proposed by Ya.A. Ponomarev. He developed a structural-level model of the central link of the psychological mechanism of creativity, which can be represented in the form of two spheres penetrating one another: logical and intuitive thinking.

The essence of creativity, from the point of view of Ya.A. Ponomarev, as a psychological property, comes down to intellectual activity, the intensity of search motivation and sensuality (sensitivity) to the by-products of one’s activities. For creative person The most valuable are the by-products of an activity, something new and unusual; for the non-creative, the results of achieving the goal (expedient results), and not novelty, are important.

Ponomarev considers the creative act as included in the context of intellectual activity according to the following scheme: at the initial stage, the stage of problem formulation, active consciousness, then, at the solution stage, the unconscious, and at the third stage, when the selection and verification of the correct solution occurs, consciousness is activated again.

Another domestic researcher, D.B. Bogoyavlenskaya identified a unit of measurement for creativity called “intellectual initiative.” It is considered as a synthesis of mental abilities and motivational structure of the individual, manifested in the continuation of mental activity beyond the limits of what is required, beyond the solution of the problem that is set before the person. Motivations, values, and personality traits play the main role in determining creative behavior. The main features include: cognitive giftedness, sensitivity to problems, independence in uncertain and difficult situations.

A great contribution to the study of creativity was made by V.N. Druzhinin and N.V. Khazratova, they conducted research on the adaptive characteristics of children with varying degrees of intelligence and creativity. T.V. Galkina, L.G. Alekseeva, A.N. Voronin, L.I. Shragin conducted experimental studies of verbal (speech-mental) creativity. They approach association as one of the possible mechanisms of verbal creativity. But, despite various studies of creativity, the approach to it remains multimodal. Creativity is considered as a creative process, a creative product, a creative personality, a creative environment (sphere, structure, social context that forms the requirements for a creative product). By engaging in the creative process, a person becomes active in a creative environment, acquiring the traits of a creative personality and then actualizing himself in a creative product.

Analysis of the works of foreign and domestic researchers allows us to conclude that in modern psychological science today there is no unambiguous interpretation of the concept of creativity.

1.2. Psychological features of the development of creativity in preschool age

To study the features of the development of creativity in preschool age, it is advisable to consider the main approaches to this problem:

1) genetic approach, which assigns the main role to heredity;

2) environmental, whose representatives consider external conditions to be the decisive factor in development;

3) genotype – environmental interaction, whose supporters highlight different types adaptation of an individual to the environment depending on hereditary traits. Let's look at these approaches in more detail.

The genetic approach to the development of creativity was followed by researchers belonging to the domestic school of differentiated psychophysiology; in their works they tried to identify the hereditary determinants of creativity. Representatives of this direction argue that general abilities are based on the properties nervous system(earnings). “Plasticity” is considered a hypothetical property of the human nervous system that could determine creativity during individual development. The opposite pole to plasticity is rigidity, which manifests itself in low variability in indicators of electrophysiological activity of the central nervous system, difficulty in switching, inadequacy of transferring old methods of action to new conditions, stereotypical thinking, etc. However, the question of the connection between plasticity and creativity remains open.

Working in this approach V.P. Efroimson discovered such a fact as a high level of urates in the blood, as well as such a biological sign as the high-mindedness of creative people.

L.I. Poltavtseva also noted the relationship between temperament and creative abilities: fluency depends on the characteristics of temperamental activity (plasticity and pace) and emotional sensitivity in the subject environment, and flexibility depends on social emotional sensitivity and the index of general activity.

Noting the role of unconscious processes in creativity, functional asymmetry of the brain is studied (V.S. Rotenberg, S.M. Bondarenko, R.M. Granovsky, etc.). According to this approach, an individual with a predominant left-hemisphere thinking strategy should probably be less creative, and an individual with a predominant right-hemisphere strategy should be more productive creatively.

In addition, numerous historical examples: the families of mathematicians Bernoulli, composers Bach, Russian writers and thinkers (the Solovyov family and others) - at first glance, convincingly indicate the predominant influence of heredity on the formation creative personality.

Critics of the genetic approach object to the straightforward interpretation of these examples. Two more alternative explanations are possible: firstly, the creative environment created by older family members and their example influence the development of the creative abilities of children and grandchildren (environmental approach). Secondly, the presence of identical abilities in children and parents is reinforced by a spontaneously developing creative environment that is adequate to the genotype (the genotype-environment interaction hypothesis).

This is confirmed by studies using the twin method. The correlations were low, which allowed us to conclude: the contribution of heredity to the determination of individual differences in the level of development of divergent thinking is very small.

Thus, the low probability of heritability of individual differences in creativity is recognized.

The next direction we are considering in researching the development of creativity is the environmental approach. Until now, researchers have assigned a decisive role to the special microenvironment in which the child is formed, and, first of all, to the influence family relations. Most researchers identify the following parameters when analyzing family relationships:

1) Harmony – inharmonious relationships between parents, as well as between parents and children;

2) Creative – non-creative personality of the parent as a role model and subject of identification;

3) Common intellectual interests of family members or lack thereof;

4) parents' expectations for the child: expectations of achievement or independence.

In studies by D. Manfield, R. Albert and M. Runko, connections were found between inharmonious relationships in the family, psychoticism of parents and high creativity of children. However, a number of other researchers point to the need for harmonious relationships for the development of creativity. For example, one of the conclusions of E.V. Alfeeva: inharmonious family upbringing has an inhibitory effect on the development of creative personality traits. An analysis of the facts of family relationships allowed Druzhinin to conclude: a family environment where, on the one hand, there is attention to the child, and on the other hand, where various, inconsistent demands are placed on him, where there is little external control over behavior, where there are creative family members and Non-stereotypical behavior is encouraged and leads to the development of creativity in the child.

In addition to the influence of the family environment, cross-cultural studies of the development of creativity are of interest to Torrance, who made the following conclusions:

The nature of culture influences the type of creativity and the process of its development.

The development of creativity is not determined genetically, but depends on the culture in which the child was raised.

There is no discontinuity in the development of creativity. The decline in the development of creativity can be explained by the degree to which new demands and stressful situations that the child faces.

A decline in the development of creativity can be removed at any age through special training.

Based on an analysis of the conditions of upbringing and heredity, Yu. B. Gippenreiter makes the following conclusion: environmental factors have a weight commensurate with the heredity factor, and can sometimes completely compensate or, conversely, neutralize the actions of the latter.

The next approach to the development of creativity that we are considering is the genotype-environment approach, which we will adhere to in our work. According to this approach, the development of creativity proceeds according to the following mechanism: on the basis of general talent, under the influence of the microenvironment and imitation, a system of motives and personal properties (nonconformism, independence, self-actualization motivation) is formed, and general talent is transformed into actual creativity.

However, there are several directions in this approach. V.N. Druzhinin, V.I. Tyutyunina and others consider it necessary for the development of creativity:

Lack of regulation of subject activity, or rather, lack of a model, regulated behavior;

The presence of a positive example of creative behavior;

Creating conditions for imitation of creative behavior and planning manifestations of aggressive and destructive behavior;

Social suppression of creative behavior.

This idea is essentially behaviorist and is that the development of creativity is promoted by the same aspects of the situation that lead to learning: repetition and reinforcement. And the stage of imitation is a necessary link in the development of a creative personality.

A different view is presented in the works of J. Woolwill and R. Lowe, where the development of creativity is not reduced to the accumulation of experience, but is presented as a structural change in the operating composition. Development (within the framework of J. Piaget's theory) is interpreted as the emergence of a balanced structure or balancing (the emergence of a cognitive conflict). Creative thinking develops through processes similar to “balancing” that are triggered when cognitive conflict arises.

P.Ya. Galperin developed a developmental method based on social interaction. The idea of ​​social learning (A. Bandura) is that we are able to learn by observing the behavior of other people and accepting its pattern. Patterns of creative behavior can convey a certain approach to solving problems and defining a search area.

The idea of ​​socioactive conflict assumes that interaction between subjects with different points of view on issues and different strategies for solving a problem leads to the emergence of internal conflict and disequilibrium, which gives impetus to the creative development of the individual (V. Doise and G. Mugny).

Thus there are different approaches, which boil down to viewing creativity as an innate, unchanging characteristic and as amenable to change. However, it is clear that the factors influencing the development of creativity have not yet been sufficiently studied.

A common point in these approaches is the provision of a sensitive period for the development of creativity, which occurs at the age of 3-5 years. At this age, “primary” creativity is formed, as a general creative ability.

By the age of three, a child, according to D.B. Elkonin, there is a need to act like an adult, to “become equal to an adult.” Children develop a “need for compensation” and develop mechanisms for selflessly imitating the activities of an adult. Attempts to imitate the work actions of an adult begin to be observed from the end of the 2nd to the 4th year of life. Most likely, it is at this time that the child is most sensitive to the development of creative abilities through imitation.

In the studies of V.I. Tyutyunik shows that the needs and abilities for creative work develop from at least 5 years. The main factor determining this development is the content of the child’s relationship with the adult, the position taken by the adult in relation to the child.

The age of 3-5 years is favorable for the formation of creativity also because by this age a child, on the one hand, is ready for socialization (developed speech), and on the other hand, is not yet socialized. Children's literary creativity manifests itself most clearly at this time, and at 6 years of age there is a decline in creative manifestations, with the intensification of intellectual activity.

Thus, we have revealed that the sensitive period for the development of creativity occurs in preschool age, where creativity is updated under the influence of many factors, such as heredity, environment, and upbringing.

Conclusion from the first chapter:

With all the variety of theoretical approaches to the study of creativity, some of the most general provisions can be identified. Modern psychological theories define creativity as a complex multidimensional and multilevel, integral structure that combines closely related, but still relatively independent cognitive and non-cognitive personal components into a single whole.

The following meanings are put into the concept of creativity: the ability of individuals to bring something new into their own existence, regardless of the presence or absence of what is being created in the socio-cultural environment; neoplasm process; product of innovative activity;

The development of creativity is explained by the interaction of internal prerequisites (creative potential) of the individual with the influence of external environmental factors;

Many researchers refer to the need to develop creativity at the age of 3-5 years, which is a sensitive period, due to the need that children have to imitate the actions of an adult, in the absence of stereotypical behavior.

Chapter 2.Empirical study of the features of creativity development in preschool age

2.1. Organization and research methods

An empirical study of the features of the development of creativity in preschool age was carried out on the basis of the municipal educational institution “Kindergarten “Raduga”, during the 2008-2009 academic year. The study involved 14 preschool children of different genders, aged 5-6 years.

The study was carried out in 2 stages:

1st stage– diagnostics of verbal creativity of preschool children using the Torrance test.

2nd stage– identification of features of the development of creativity in preschool age.

The study used a method selected according to a number of criteria: compliance with the purpose and objectives of the study; polyinformativeness (multidimensionality) – obtaining a large amount of information, also taking into account the age characteristics of the subjects (in this case, preschoolers).

The Torrance Test “Diagnostics of Verbal Creativity” consists of seven subtests, 5 minutes are allotted for each subtest.

"Questions"- you need to ask questions about the picture.

"Causes" - try to guess what preceded this situation (its causes).

"Consequences"- it is necessary to assume what will happen in the future (consequences). Proposing hypotheses about the causes and consequences of events models scientific creativity.

“Toy Improvement” – It is required to give as many options for changing the toy as possible.

"Unusual Use" - come up with ways to use cardboard boxes.

"Unusual Questions" - Need to ask questions about cardboard boxes.

"Incredible Situations"- the subject is faced with an incredible situation (depicted in the picture) and must imagine possible ways out of it.

Interpretation of test results consists of an analysis of creativity indicators - fluency, originality and flexibility. They were scored on a five-point scale for each subtest.

Thus, we have determined the basis and conditions for conducting the study.

2.2 Results of an empirical study of the features of creativity development

We examined the features of the development of creativity using the Torrance test “Diagnostics of Verbal Creativity”.

Table 1

Features of the development of verbal creativity in preschool children

The table shows that the highest number of points was obtained for the creativity indicator - fluency (378 points). This proves our hypothesis and suggests that for children of this age in the process of creative thinking it is typical to lead big number responses to the given tasks, these answers are often banal, as evidenced by the originality indicator, which amounted to 310 points. The flexibility indicator is less pronounced (301 points), which indicates the difficulty of switching attention from one aspect of problem solving to another.

Based on the results obtained, we identified three groups of preschoolers with different levels development of creativity.

table 2

Level of development of verbal creativity of preschool children

Comparing preschoolers according to the level of development of verbal creativity, we found that the majority, namely 40% of preschoolers, have average level development of creativity, this suggests that the norm of development of creativity is inherent in the majority of preschoolers we studied. A low level of development is characteristic of 33% of preschoolers; therefore, the preschoolers of this group we studied actually do not have creative thinking, although they may have a high intellectual level. And 27% of preschoolers have a high level of creativity development.

To analyze the features of the development of creativity in preschool age, in our opinion, it is advisable to consider the levels of development of creativity using specific examples. For this analysis, we will analyze the results of testing preschoolers from each group we have identified according to the level of creativity development.

We will look at the group of preschoolers with high development of creativity using the example of the testing results of O. Olesya, who has the highest result in verbal creativity (100 points) (see Table 1). During the diagnosis, this subject immediately had many different ideas for all the tasks we proposed. Ideas appeared without delay throughout the allotted time for each subtest.

This subject has a more pronounced indicator of creativity, such as originality (35 points) (see Table 1). Which is expressed in its inherent ideas that differ from the banal, that is, in the ability to avoid obvious and trivial answers. We will give as an example some of her answers to the tasks we propose. In the second subtest, where it was asked to name as many reasons as possible for what was happening in the drawing (it depicted a little man bending down by the water), the subject suggested that this little man was depicting a spider and wanted to wash his hat. These answers are fundamentally different from the options proposed by subjects belonging to groups with an average and low level of creativity; they assumed only obvious things, such as: he wants to drink, swim, sunbathe, catch a fish, etc. For the fifth subtest, where it was asked to come up with options for using cardboard boxes, this subject suggested making beads from small boxes, insulating the windows (after cutting them into thin strips), making a frame for photographs, and growing onions in them. Coming up with answer options, she also said how to implement what she had planned, in contrast to the studied preschoolers with a different level of creativity development, who offered options that were unrealistic in application, such as: making a doll, a birch tree, an antenna, a swing out of boxes.

Considering the indicator of creativity - flexibility (for this subject it is 33 points). We can say that she is able to put forward a variety of ideas, move from one aspect of a problem to another, using different problem-solving strategies. This can be proven by examples of her answers to the proposed tasks. So, for example, for the fourth subtest, where it was asked to come up with how possible a large number of options for changing the baby elephant, the test subject had options for both adding objects to the elephant to make it more interesting to play with it (a comb, to play at the hairdresser, a camera, a computer), and options for transforming the object itself (tying bows, painting the back) and options where the baby elephant can be active (wash dishes with its trunk, paint with a brush, walk on the grass).

Another indicator of creativity is fluency (the test subject's score is 32 points). High originality and flexibility of ideas did not affect productivity; the test subject had a high level of fluency, which indicates the ability to generate a large number of ideas. The subject had a large number of options even in subtests that caused difficulty for other preschoolers (tasks on composing a variety of questions).

A slightly different situation is presented in the group of studied preschoolers with an average level of creativity development. Let's look at the example of N. Ganisher's answers (74 points of verbal creativity).

For this subject, a high fluency score is combined with lower scores of originality and flexibility; it amounts to 27 points. This suggests that among the large number of answers there were fewer original ideas than among subjects with a high level of creativity. That is, a high score on the level of verbal creativity, by and large, was obtained due to the creativity indicator - fluency. This can be proven by considering the indicator - originality, which was 23 points for this subject. Comparing his answers with a group of preschoolers with a high level of creativity, one can notice a much smaller number of unusual, original ideas. For example, for the third subtest, where it was asked to come up with as many consequences as possible for what is shown in the picture (the little man sat down by the water), there were many banal answers, often found in all diagnosed preschoolers, such as: fall into the river, swim, catch a fish, wash his hands . But there were also original answers, but in smaller quantities, for example: dad scolds for walking far from home; It will rain and he will get wet.

Analyzing the creativity flexibility indicator, it amounted to 24 points. The subject did not provide a variety of answer options in all subtests. So, for example, in subtest number seven, where it was asked to find as many options as possible for getting out of an incredible situation (in the picture, ropes were lowering from the sky), the subject proposed similar ideas - walk on the clouds, fall from the clouds, fall and break a leg, jump from a cloud to the cloud, etc. The same type of options were demonstrated here, which may indicate rigidity of thinking. But this subject gave a large number and varied ideas to many subtests, this is clearly seen in the answers to the first subtest, it was proposed to ask as many questions as possible about what was happening in the picture (the man sat down by the water). The preschooler under study asked next questions:

Can he fall into the water?

Is this a river?

What's his name?

Is he looking into the water?

Does he hold his hands so as not to fall?

Are there any fish there?

It follows from this that the subject is able to come up with various options for solving the problem, but in some tasks difficulties arose, which could be associated with insufficient motivation and low awareness.

Also, insufficient motivation could be the reason for low creativity in the third group we studied. We will analyze the characteristics of the development of creativity in a group with low creativity using the example of L. Leonid’s answers; he has the lowest indicator of verbal creativity (40 points) of the preschoolers we studied. Just as in the group with an average level of creativity development, our subject had the highest score on the creativity indicator - fluency (17 points). This subject has half as many answer options as subjects with a high level of creativity. During diagnosis, it took a lot of time to think, which indicates inertia of thinking, constraint and uncertainty about the correctness of one’s answers.

Analyzing the flexibility of answers, according to this indicator the subject has 12 points, we can see only the same type of ideas; he adheres to one strategy, thinking through his answers. As can be seen in the answers to the fifth subtest, where it was required to come up with options for using cardboard boxes, the subject suggested: making a car, a robot, a table, clothes, shelves, a chair; in fact, he named only those objects that were in his field of vision during the diagnosis. This confirms the low level of creativity of the subject.

The originality of his answers (11 points) is also weakly expressed; all ideas are typical and are found in all preschoolers we diagnose. For example, in subtest number two, it was required to come up with reasons for what was happening in the picture (the man bent over the water). The subject gave the following answers - he wants to drink, wants to swim, wants to catch a fish, wants to look.

Based on these indicators, we can say about low intellectual activity, conformity, or weak motivation during diagnosis.

Thus, in the course of our study, we identified differences between the characteristics of creativity in subjects with different levels of creativity development.

2.3.Results of an empirical study of the characteristics of the development of creativitydepending on the task

Considering each subtest separately, we identified a number of features.

Table 3

Features of creativity development depending on the task

For the first subtest, where it was necessary to ask questions about the picture in order to find out the essence of what was happening in the group of subjects with a high level of development of verbal creativity, the originality of answers was 49.0%, fluency - 43.0%, flexibility - 47.0%. In the group with an average level of creativity, fluency was 35.0%, flexibility - 32.0%, originality 38.0%. And in the group with a low level of creativity development, fluency was 22.0%, flexibility – 21.0%, originality – 13.0%.

Thus, indicators of the level of creativity development are higher in the group of subjects with a high level of creativity development. Preschoolers with an average level of creativity spent a large amount of time thinking through interrogative sentences, as a result of which their questions were descriptive in nature rather than touching on the essence of the task. A group of preschoolers with a low level of creativity development did not manage to formulate questions at all, which is related to the characteristics of their personal development; they only described what was happening in the picture.

In the second subtest it was required to guess the reason for what is happening in the picture, we got following results: in the group with a high level of creativity development, fluency was 39.0%, originality – 44.0%, flexibility – 46.0%. In the group with an average level of development - fluency -31.0%, flexibility - 32.0%, originality -32.0%. And in the group with a low level of development - fluency -30.0%, flexibility -32.0%, originality -34.0%.

In the group of preschoolers with a high level of creativity development, the indicator of creativity - flexibility - is more clearly expressed; they demonstrated their ability to put forward a variety of ideas and move from one aspect of the solution to another. A group of preschoolers with an average level of creativity development, modeling the reasons for what was happening in the picture, also gave original answers, but they needed more time to think through ideas, and therefore, the number of options for what was happening was much less than in the group of preschoolers with a high level of creativity development , which was reflected in the number of points received by this group. Considering the answers of preschoolers with a low level of creativity development, we found that among their creativity indicators, the indicator of originality prevails. Among the small number of similar answers, many subjects in this group had ideas that were different from the typical ones.

The third subtest is a continuation of the previous tasks and the subjects were asked to imagine the possible consequences of what was happening in the same picture. The results are as follows: in the group of preschoolers with a high level of creativity development - fluency - 36.0%, flexibility - 32.0%, originality - 38.0%; in the group of preschoolers with an average level of creativity development - fluency - 34.0%, flexibility -46.0%, originality -34.0%; and in the group with a low level of creativity development - fluency - 30.0%, flexibility - 22.0%, originality - 28.0%.

Analyzing the answers of preschoolers with a high level of creativity development, we found that they have a clearly expressed indicator of creativity - originality. Despite the fact that many subjects' answers to this task were similar to the answers to the previous task, they were able to offer ideas that were different from the banal. In the group of subjects with an average level of creativity development, just as in the previous task, by modeling the consequences of what was happening in the picture, they showed their ability to consider various aspects of solving a problem (their predominant indicator of creativity is flexibility). In contrast to subjects with a low level of creativity, who in their answers only repeated the ideas proposed for the previous task.

In the next, fourth subtest, it was necessary to improve the toy, and we received the following results: in the group of preschoolers with a high level of creativity development - fluency - 38.0%, flexibility - 45.0%, originality - 48.0%; in the group of preschoolers with an average level of creativity development - fluency - 32.0%, flexibility - 32.0%, originality - 29.0%; and in the group with a low level of creativity development - fluency - 30.0%, flexibility - 23.0%, originality - 23.0%.

This task caused big interest in the subjects. And due to high motivation, all subjects, even those belonging to the group with a low level of creativity development, put forward a large number of ideas. Only in the group with a high level of creativity development there is a high indicator - originality; in other groups the indicator of creativity - fluency - prevails, which is associated with interest in the task and the ability to transform and model objects.

The fifth subtest asked people to come up with unusual uses for cardboard boxes. We obtained the following results: in the group of preschoolers with a high level of creativity development - fluency - 36.0%, flexibility - 43.0%, originality - 43.0%; in the group of preschoolers with an average level of creativity development - fluency - 35.0%, flexibility -29.0%, originality -34.0%; and in the group with a low level of creativity development - fluency - 29.0%, flexibility -28.0%, originality - 23.0%.

Preschoolers with a high level of creativity offered, among many options, practical ideas for using cardboard boxes, in contrast to the subjects of other groups, who put forward options that were unrealistic to use, in fact, naming those objects that were in their field of vision at the time of diagnosis.

The next, sixth task, was to come up with as many questions as possible about cardboard boxes in order to identify their previously unnoticed properties. During the study, we found that among subjects with a high level of creativity development, fluency was 48.0%, flexibility - 54.0%, originality -54.0%. With an average level of creativity development, fluency was 29.0%, flexibility - 28.0%, originality -28.0%. And with a low level of creativity development - fluency -23.0%, flexibility -18.0%, originality - 18.0%.

This task presented a certain complexity for all subjects; it was difficult for the subjects to formulate questions, which is explained by age-related developmental characteristics. However, subjects with a high level of creativity offered, although not a large number of questions, but aimed at determining the properties of the boxes, in contrast to subjects of other groups, who in their questions failed to touch on the essence of the tasks.

In the seventh task, an incredible situation was presented when ropes were lowered from the clouds to the ground, and the subjects were required to imagine possible options for what was happening on the ground at this time. We obtained the following results: preschoolers with a high level of creativity development received 43.0% for the fluency indicator, 50.0% for the flexibility indicator, and 46.0% for the originality creativity indicator. Preschoolers with an average level of creativity development scored 32.0% in terms of fluency, 28.0% in terms of flexibility, and 32.0% in terms of originality. And subjects with a low level of creativity development received 25.0% for the creativity fluency indicator, 22.0% for the flexibility indicator and 22.0% for the originality indicator.

The studied preschoolers with a high level of creativity development, answering the proposed task, received a higher score on the creativity indicator - originality. They put forward ideas that differed from the obvious and gave a wide variety of ideas without difficulty. Subjects with an average level of creativity also successfully completed the proposed task, but their answers were unidirectional; in their ideas they touched on only one aspect of solving the problem. This task caused difficulty for subjects with a low level of creativity. Many have failed to imagine this situation in reality, which may indicate low intellectual activity or conformity of thinking.

Thus, we have identified the features of the development of creativity in preschool age, depending on the level of development of creativity and the tasks assigned to the tested preschoolers.

Conclusions on the second chapter

During the study, we identified features of the development of creativity in preschool age. We found that the preschoolers we studied had a more clearly expressed indicator of creativity—fluency; this proves the hypothesis we put forward and suggests that for children of this age, in the process of creative thinking, it is typical to provide a large number of answers to the given tasks.

In our study, the features of creativity development were analyzed in groups of preschool children with different levels of creativity development.

ideas that differ from the obvious, banal or firmly established. Those who receive high scores in terms of originality, they are usually characterized by high intellectual activity and non-conformity. They are capable of making large mental leaps or cutting corners when searching for a solution, but this does not mean impulsiveness; originality of solutions implies the ability to avoid obvious and trivial answers.

The situation is different in the group of subjects with an average level of creativity development; they have a more pronounced indicator of creativity - fluency. Which reflects the ability of the subjects of this group to generate a large number of ideas expressed in verbal formulations. A high score on this scale is obtained due to the presence of impulsive, banal ideas. Such ideas resulted in lower scores on flexibility and originality. High fluency values ​​may be associated with high intellectual activity and motivation of the subjects.

We also analyzed the features of the development of creativity in preschool age depending on the tasks assigned to the preschoolers we studied.

We found that tasks that required formulating questions caused difficulties for our subjects (the first and sixth subtests). For the majority of subjects, namely those with an average and low level of creativity, the questions were descriptive in nature, without affecting the essence of the task. Similar tasks (second and third subtests) for subjects with average and low levels of creativity, in contrast to preschoolers with a high level of creativity, were characterized by repetition of ideas and fewer original answers. The fourth task, where it was necessary to transform and improve the subject, interested the preschoolers more than the others, and due to high motivation in completing the task, all the preschoolers we studied received a high score. In the group of preschoolers with a high level of creativity development, there were more original answers, but in groups with an average and low level of creativity development, a high score in the task was obtained due to a pronounced indicator of creativity - fluency; these subjects proposed a large number of diverse but typical ideas. The fifth task, which asked to find unusual ways to use cardboard boxes, did not cause any difficulties in the group of subjects with a high level of creativity. They offered a large number of practical options, but other preschoolers we studied did not cope with the task so successfully; they offered options that were not practical in application; in fact, they named what was in sight at the time of diagnosis.

Thus, we comprehensively analyzed the Torrance test for diagnosing verbal creativity and identified a number of features characteristic of preschool age.

conclusions

In the course of analyzing domestic and foreign psychological and pedagogical literature on the problem of developing creativity in preschool age, we put the following meanings into the concept of creativity: the ability of individuals to bring something new into their own existence, regardless of the presence or absence of what is being created in the socio-cultural environment; neoplasm process; product of innovative activity.

The development of creativity is explained by the interaction of internal prerequisites (creative potential) of the individual with the influence of external environmental factors. The sensitive period for the development of creativity is the preschool age of 3-5 years, due to the need that children have to imitate the actions of an adult, in the absence of stereotypical behavior.

It is precisely because of this that the purpose of our study was to identify the characteristics of the development of creativity in preschool age. In the course of the study, we proved our hypothesis that at this age the indicator of creativity - fluency - is more clearly expressed.

To study the characteristics of the development of creativity, we analyzed the responses of preschool children to the Torrance test - “Diagnostics of verbal creativity”. Based on the diagnostic results, we divided the subjects into three groups depending on the level of creativity development.

In the group of preschoolers with a high level of creativity development, the most strongly expressed indicator of creativity was originality, in contrast to the other groups. This characterizes the ability of subjects in this group to put forward ideas that differ from the obvious, banal or firmly established. Those who score high on originality are usually characterized by high intellectual activity and non-conformity.

Considering creativity indicators in a group of subjects with an average level of creativity development, we found that they had a more pronounced indicator of creativity - fluency. Which reflects the ability of the subjects of this group to generate a large number of ideas expressed in verbal formulations.

In the group of subjects with a low level of creativity development, weakly expressed values ​​for creativity indicators can be explained by insufficient motivation of the subjects, difficulty in switching from one type of activity to another, low awareness, limited intellectual development and conformity of the subjects.

For a comprehensive analysis of the features of the development of creativity in preschool age, we analyzed the responses of the subjects depending on the assigned tasks.

And they found that preschoolers have difficulties in tasks related to the formulation of questions, which can be explained by age-related developmental characteristics. For most preschoolers, the questions were descriptive in nature, without affecting the essence of the task. All subjects successfully managed to come up with options for transforming the subject; subjects with a high level of creativity had original ideas, but the rest of the groups received a high score for the creativity indicator - fluency; during diagnostics, they proposed a large number of ideas, many of which were typical and not distinguished by originality . Similar tasks for subjects with average and low levels of creativity, in contrast to preschoolers with a high level of creativity, were characterized by repetition of ideas and fewer original answers. The task, which asked to find unusual ways to use cardboard boxes, did not cause difficulties in the group of subjects with a high level of creativity. They offered a large number of practical options, but other preschoolers we studied did not cope with the task so successfully; they offered options that were not practical in application; in fact, they named what was in sight at the time of diagnosis.

Thus, we have identified a number of features of the development of creativity in preschool age.

Conclusion

In the course of our research, we achieved our goal and proved the hypothesis that preschool age is a sensitive period for the development of creativity.

The topic of our research is not new, the phenomenon of creativity is being studied by foreign and domestic psychologists from different angles, but there is still no consensus on the nature of creativity, and the criteria and conditions for development have not been established. Therefore, the topic still remains relevant, especially since we considered the features of the development of creativity in preschool age. And in preschool age creativity is updated.

The results we obtained will allow us to build a program for the development of creativity, taking into account the individual characteristics of preschool children. Also, knowledge of the features of the development of creativity will allow us to draw up recommendations for teachers of preschool educational institutions and parents.

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Applications

Annex 1

Table 1

Results of primary processing of the developmental features of creativity in preschool children

Theoretical foundations of creativity in preschool children

Theoretical foundations of children's creativity.

Formation of a creatively active personality with the ability to solve effectively and innovatively life problems, is laid down in childhood and is a condition for the subsequent development of a person’s personality and his successful activity. In this regard, the preschool educational institution faces important task development of the creative potential of the younger generation. One of the directions mental development child is the development of personality aspects, focused on the development of creativity.
In the works of domestic psychologists, creativity appears as a specific feature of thinking, which differs from other mental processes. In psychological and pedagogical literature, the concept of “creativity” is most often associated with the concept of “creativity”.
Creativity is understood as the ability that reflects the deep-seated ability of individuals to create original values ​​and make non-standard decisions. When characterizing creativity, psychologists point to the problem of abilities and most often consider creativity as a general creative ability, a process of transforming knowledge. L.V. Vygotsky, V.V. Davydov, A.G. Shmelev argue that creativity is associated with the development of imagination, fantasy, and the generation of hypotheses. Among the prerequisites and grounds characteristic of the manifestation of creativity, domestic psychologists highlight the perceptual characteristics of a person with creative potential, which are expressed in extraordinary intensity of attention, impressionability, and receptivity. Intellectual manifestations include intuition, fantasy, invention, and vastness of knowledge. Among the characterological features, they emphasize deviation from the template, originality, initiative, perseverance, high self-organization, and tremendous efficiency. The peculiarities of motivation for activity are seen in the fact that a genius person finds satisfaction not so much in achieving the goal of creativity, but in its very process. Specific trait the creator is characterized as an irresistible desire for creative activity.
In domestic studies, the concept of “creativity” is most often replaced by creativity and considered this problem in connection with the development of creativity, creative activity, creative imagination, creative personality. L.S. Vygotsky, turning to creativity, points out the need to manifest and develop the ability to create something new, no matter whether this creation is some thing in the external world or a known construct of the mind.
In the works of Ya.A. Ponomarev notes that only a person who has a developed internal plan of action is capable of full-fledged creative activity, which allows him to appropriately assimilate the sum of specialized knowledge of a particular area of ​​activity necessary for its further development, as well as to demand personal qualities, without which true creativity is not possible. L.S. Vygotsky, D. Kabalevsky and others, addressing the question of what is human creativity, what ensures creativity, point to imagination.
IN Philosophical Dictionary imagination means mental process, which consists in creating new images by processing the material of perceptions and ideas obtained in previous experience. There are two type of imagination:
Recreating is the process of creating an image of an object according to its description, drawing or drawing;
Creative – self-creation new images.
The creative activity of the imagination is directly dependent on the richness and diversity of a person’s previous experience, since this experience represents the material from which fantasy structures are created. The richer a person's experience, the more material his imagination has at his disposal.
Concept of L.S. Vygotsky is based on the understanding of imagination as a creative activity based on the “combining ability of the brain.” Hence, the products of creative activity appear as “crystallized imagination.” The psychologist identified four forms that connect imagination with reality:
Imagination is based on experience; new things are created from elements of reality.
Imagination acts as a means of expanding experience.
Imagination is guided by the emotional factor and influences feelings.
Imagination becomes reality when it “crystallizes,” becomes embodied, begins to exist in the world and influence other things.
Based on studies of domestic and foreign authors, creativity, as well as the ability for it, expressed by the concept of “creativity,” develops, and development occurs along with the development of personality and intellect, so considering creativity in childhood is an important task.
Research by L.S. Vygotsky show that children’s imagination is poorer than that of an adult, which is associated with insufficient personal experience. The psychologist concludes that it is necessary to expand the child’s experience if we want a sufficiently strong foundation for his creative activity. Development of imagination in childhood depends not only on experience, but also on needs and interests, on the embodiment of products of imagination in material form, on technical skill, from traditions, from environment. Children's imagination is figurative in nature, its functioning is the restructuring of images, which is carried out through the ability to separate the properties of an image from its other properties and transfer it to another image. imagination manifests itself in active work child to transform, replenish, restructure experience. This is how a generalization of the experience of activity occurs, which in the child is expressed in the ability to combine. An important role in the process of combination is played by the basic mechanism of thinking - analysis through synthesis, since the transformation of an object is carried out on the basis of new properties of the object through its inclusion in new connections with other objects.
A.V. Petrovsky identifies the following methods of combining in the imagination: connecting parts of various objects and changing the number of parts of an object and displacement. Similar imaginations that are inherent in the children of Y.A. Dudetsky calls the inclusion of an object in new situation, changing the conditions of action of an object, the implementation of inanimate nature, giving the object qualities unusual for it.
In the studies of O.M. Dyachenko established that the imagination of preschool children has two components: the generation of a general idea and the drawing up of a plan for the implementation of this idea. The author notes that when constructing a new image, children 3-5 years old mainly use elements of reality, in contrast to them, children 6-7 years old build an image already in the process of freely operating with ideas.
Turning to the characteristics of creativity, researchers characterize it as a creative ability, the manifestation and development of which is associated with the development of imagination and fantasy. Psychologists also claim that the development of creativity qualitatively changes a person’s personality. Therefore, it is logical for researchers to consider creativity as a personality trait. “Personality” is a term denoting the human individual as a subject of relationships and social activities or a sustainable system socially significant features characterizing an individual as a person or another society or community.
According to the view of L.S. Vygotsky, V.V. Davydov and others, personality is considered as an integrated education. Personality development occurs throughout a person’s life, and one of the most important criteria of personality is creativity, since in the process of human life, imagination develops as an internal mechanism that ensures the manifestation of creativity. Creativity is a personality characteristic that indicates an individual’s ability to create. Many domestic researchers have turned to the definition of creativity criteria in connection with the study of human creative manifestations in various types activities: speech, inventive, musical.
O.M. Dyachenko considers the main criteria for the manifestation of creative imagination in preschoolers to be the originality of children’s performance of creative tasks and the use of images, in which the images of some objects are used as details for constructing others.
Therefore, domestic and foreign researchers define creativity as an ability or personality trait. So, E.P. Torrance understands creativity as the ability to heighten the perception of shortcomings, gaps in knowledge, and so on. E. Fromm interprets the concept of creativity as the ability to be surprised and learn, the ability to find solutions in non-standard situations, a focus on discovering something new and the ability to deeply understand one’s experience. A number of studies link creativity to intelligence. Intelligence is a relatively stable structure of an individual’s mental abilities.
There are three main approaches to the relationship between intelligence and creativity:
1. Representatives of the first approach claim that there is no such creativity. Intellectual talent acts as a necessary, but not sufficient condition for the creative activity of an individual.
2. Representatives of the second approach suggest that creativity is characterized as a creative ability, which is an independent factor, independent of intelligence.
3. The third approach is based on the connection between the level of intelligence development and the level of creative abilities.
J. Guilford identified four main parameters of creativity:
Originality,
Semantic flexibility
Figurative adaptive flexibility,
Semantic spontaneous flexibility.
J. Gowen considers creativity in connection with the problem of giftedness in children. Such a child is extremely curious, able to throw himself into work, demonstrates a high energy level, often does everything in his own way, and so on.
Thus, creativity can be interpreted as the ability to create, where this ability is understood in a broad sense: to connect creativity with the development of personality and intelligence, the development of the child’s imagination; The personal approach allows us to interpret creativity as a developing phenomenon, and creativity develops accordingly.
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Development of creative abilities in preschool children. How to raise a child to be creative? Tasks and exercises for the development of creative thinking.

By creativity, psychologists understand the ability to see things in a new and unusual light and find unique solutions problems. Creativity is the exact opposite of patterned thinking. It takes you away from banal ideas, usual look on things and gives birth to original solutions.

Intelligence researchers have long come to the conclusion that there is a weak connection between human creativity and learning abilities and intellectual abilities. In creative activity important role characteristics of temperament, the ability to quickly assimilate and generate ideas, etc. play a role.

Creative abilities can manifest themselves in various types of activities. To the question that concerns many parents, whether it is possible to develop them, whether it is possible to teach creativity, psychologists answer: yes. This is due to the fact that preschool age is very receptive and plastic; here such a mental function as imagination appears. In other words, the ages between three and seven years are most favorable for the development of creativity.

Creativity makes thinking fun and helps us find new solutions to old problems.

There are many ways to develop creativity, especially among parents. In favor of the fact that it is mom and dad who can best organize the process creative development child, the following facts say:

The child highly values ​​communication with parents, who are authorities for him;
- parents know their child well and therefore select development opportunities that the child will like and will be interested in;
- creative activity- one of the most productive options for spending time for adults and children;
- the attention of mom or dad is entirely devoted to the child, while the teacher tries to distribute it evenly among all the children in the group;
- emotional contact with a significant adult gives the child special impressions of the joy of joint creativity;
- the child develops an idea of ​​the parent as a person with whom it is interesting to be together;
- Mom and dad, as a rule, choose different means for the development of the child, and therefore the creative experience the baby receives in the family is doubled.

Before we show you how to develop creativity, here's a little story, the hero of which has a clearly expressed ability to create.

During the First World War, a certain Mr. Harrigan's wife sent a desperate letter. “There doesn’t seem to be a single able-bodied man left in all of Ireland,” she wrote, “and I have to dig up the garden myself.” In response, Harrigan wrote: "Don't dig up the garden. There are weapons buried there." The letter was opened by censorship, soldiers raided the wife’s house and dug up the entire garden to the last inch. “I don’t know what to think, dear,” Mrs. Harrigan wrote to her husband, “the soldiers came and dug up our whole garden.” “Now plant the potatoes,” Harrigan replied.

Mr. Harrigan chose an unexpected, unconventional move, having previously calculated the consequences of his actions. And, as we see, he was right. At the same time, there is nothing unusual in his actions: he simply wrote a letter to his wife.

When developing a child’s creative abilities, the material used, as in the above example, is a variety of - and in most cases ordinary - surrounding things. The ability to find different ways to find a solution, to consider a phenomenon or object from different angles, etc. is very important. Here are several possible activities with your child.

Tasks and exercises for developing creative thinking

The activities offered in this section are aimed at developing children's general techniques creative thinking, not tied to a specific academic subject. At the same time, they can be used to activate creative thinking in relation to various content areas traditionally studied in preschool institutions.

Exercise

Goal: development of creative abilities by activating imagination.

1. Tell the children the following story.

One day a little boy was walking home from school. As he walked along the sidewalk, he looked very carefully at his feet to be sure that he was not stepping on a single bug. It was very good boy. He didn't want to hurt anyone. Suddenly he stopped. Lying right at his feet, sparkling in the sun, was a completely new coin.

"Wow!" - the boy exclaimed and picked up the coin. “Today must be a lucky day,” he thought. And the coin was really very beautiful: on one side there was an image of a tree, and on the other - a strange bird. In fact, it was a magic coin, but the boy, of course, did not know about it. As soon as he put the coin in his pocket, he felt something very strange. It seemed to him that he was becoming smaller and smaller, and this feeling did not leave him until he became a very tiny man.

2. Ask your child, “If you were that little boy, what would you immediately think of?”

3. Continue this way: “You offered very interesting guesses, now I’ll tell you what our boy really thought. The boy began to think, first of all, about how he would now get home. But since "This story doesn't say anything about what this boy did, you can tell it yourself. So, how can he get to his home? Don't forget that the boy is very short."

4. Ask a question regarding the consequences that our hero, in general, a person of such height, may face. Try to interest the child and get from him maximum amount answers. We encourage you to use the following questions (although you can come up with your own).

What happens when the boy gets home? What will his parents think? What will his brothers and sisters and his dog and cat think?
- what will change when he eats?
- what difference will he feel at night and when he wakes up in the morning?

Accept all answers, even though some of them may seem ridiculous.

5. Continue the discussion: “You made quite a lot of interesting assumptions. Now think about how things will be for the boy in kindergarten?”

Give your child two attempts to speak. Keep in mind that in order to meet the criterion, the child must name at least two guesses.

6. Unexpected turn of events. Remind your child of the content of the story you told. Then say: “So, after the boy became small, whole days and nights passed. And he decided to again become the same as he was before.”

Pause for a moment and ask your child to make suggestions as to how the boy could achieve this. Try to encourage him to express a wide variety of thoughts. Continue like this: “The boy decided to put the magic coin back on the sidewalk in the hope of growing up again and becoming his old self. He put the coin up with the side on which the tree was depicted. The moment the coin touched the ground, the boy felt that he was getting bigger and bigger. more. But the magic coin did not know how tall a normal boy should be, and so he grew until his height became greater than the height of the ceiling in this room."

Ask the children to list problems that someone this tall might face. Try to get as many answers as possible.

7. Conclusion. "It is clear that the boy did not want to be a giant, just as he did not want to be very tiny. He really wanted to be an ordinary boy his age."

Pause again for a while and invite the child to express his thoughts on how the boy can do this.

"In our story, the boy decided to return again to the place where he found the magic coin. This time he put it on the ground with the side facing up, which had a picture of a bird on it. As soon as he did this, he felt himself quickly shrinking in size "Suddenly the moment came when he stopped shrinking. He looked around and noticed that he had again become of normal height."

Finally, ask your child to give his guess as to how he thinks the story ended.

Thus, by breaking a short story into several plot stages, you can encourage the child to search for a variety of ways to develop the situation. If you are working with several children, you need to listen to everyone, even if the originality and logic of one child, say the eldest, is obvious. In this kind creative games Adult family members can also take part: for example, if the leader is mom, dad and child can compete in the unusualness of the proposed solutions.

Try to create an interesting fact out of any fact, even at first glance. logical chain. Are you making soup in the kitchen? Ask your child, what will happen if the stove breaks? If you don't turn down the heat? No salt? Try to ensure that the child’s answer is only the basis for the next question in the logical chain.

A logical chain can be drawn. Often children ask the question “What else should I draw?” Refer to the first drawing, come up with a plot and its continuation. The child is interested in creating stories himself, which, moreover, can be watched and shown to others more than once.

By stimulating the child to search for non-standard solutions, parents create a kind of foundation for the development of creative abilities in a variety of areas.

As an example of ways to develop creative thinking, we present a small questionnaire (Table 1).

Table 1. Activation of creative thinking in various types of activities.

Let's decipher several sections.

Mathematics. The development of mathematical skills represents the ability to analyze, synthesize, classify, generalize and evaluate. The following exercises can be done with children.

1. Help your child follow the application mathematical concepts on practice. For example, ask him to count how many days are left until some interesting and significant event for him, for example, before a trip out of town. You may want to ask if there are enough napkins for everyone at the table. The cooking process also provides the opportunity for the practical application of mathematical knowledge (measuring raw materials using cups, teaspoons, etc.).

2. Organize an impromptu store at home. Let your child decide what to sell, what prices to set, how to record purchases, etc.

3. Offer children several tasks (puzzles) to classify geometric shapes by color and size. Ask to draw (or indicate) a triangle shape that should follow the following sequence: triangle - circle - square - triangle - circle - square - triangle - ...

4. Ask the children to line up the tin cans according to height. Then fill these jars with different materials and ask the children to place them in order of increasing weight.

5. Invite your child to invent a new one. geometric figure and give it a name.

6. Tell your child that it is as if some robber stole all the watches in the city. How can you keep track of the passage of time until a new clock is installed in the city?

7. Is it better to measure the ingredients included in a chocolate cake: flour, water, salt, sugar, vanillin, cocoa - using measuring spoons or cups?

Speech. Language arts include the ability to listen and communicate (orally), and, at an older age, to read. The development of speech skills can be stimulated by solving riddles, reading poetry, folk legends and fairy tales, short stories, etc. The following exercise gives an idea of ​​some methods for developing skills in this area.

Practical application of knowledge

1. Come up with sentences in which it is omitted the last word. Invite your child to finish the phrase with a word that matches the meaning. For example: “I want to wear...”, or “My favorite color...”, or “Peter threw...”. A more difficult variation of this exercise would be to find the appropriate words in the middle or at the beginning of a phrase. For example: “... was riding a bicycle” or “Dasha... her little brother.”

2. Challenge the children to name words that rhyme, for example, with the word “car.” Then ask them to create a poem containing these words.

3. Invite your child to compose a coherent story based on the pictures. Then swap the pictures. Challenge your child to put them in the original order.

4. Invite your child to imagine that he is the best chef in the world and should appear on a television program to demonstrate how to prepare the most delicious dishes. The rules of this game stipulate that children can use any auxiliary material they need.

5. Give the child four unrelated pictures. Ask him to group them together to make a story.

6. Invite the children to come up with endings to the stories they listened to on the tape recorder.

7. Show your child the best reproductions famous works painting and graphics. Ask them to express and justify their attitude towards this or that painting, and name the work that they liked the most. If works are presented different artists, ask the children to name the artist whose works they liked more than others, and then justify their choice.

The science. Abilities scientific activity include the ability to observe, classify, experiment and hypothesize. Concerning preschool education, then the most common topics studied at this level are the senses, air, water, seasons, weather, the simplest laws of nature, insects, plants and animals.

Practical application of knowledge

1. Tell your child about an animal, for example a snake. Ask for answers to the following questions: What would you feed a snake? What kind of housing would you build for her? Where would you look for snakes?

2. Show your child how simple scales are made. To do this, take a long flat plate, such as a wooden ruler or a construction piece, and place it on a fulcrum. Explain how two items can be balanced. Then offer to experiment on your own by placing different amounts of weights on both ends of the board.

3. Give your child a dropper, two cans of colored water, a sheet of wax paper, and a magnifying glass. Offer to take a closer look at these items, then ask them to explain what will happen to the water when it hits the wax paper? What happens to two drops of water different color when touching each other? What happens to water if it gets on your hand?

4. Help your child find an anthill and examine it with a magnifying glass. Scatter bread crumbs near an anthill and ask your child to make a guess about how the ants will behave. When you see that the ants have made a path towards the crumbs, ask what they will do if a stone is placed in their path or if part of the path is washed away with water.

5. Give your child some earthworms, water, soil, dark and light paper, a magnifying glass and a flashlight. Ask him to take charge of handling the worms for a few days, during which time he will need to become proficient in handling them. After making sure that the preschooler has had sufficient opportunities to observe the behavior of worms, you can ask him the following questions: what do worms do in the light? How do they react to water? How can you determine where the tail is and where the head of a worm is? Give your child the opportunity to express all his thoughts on the results of observing the worms.

b Have your child grow alfalfa seeds by soaking them in liquid the night before and covering them with a wet towel. Give your child a task to record the process of seed germination (for example, draw). Ask him to describe all the changes that occur as the plant grows. Instead of alfalfa seeds, you can use seeds of other plants and grains.

7. Ask your child to imagine that cows have lost their voice and cannot moo. Ask how the cows will communicate with each other in this case.

8. Set the task for your preschooler to obtain paints of new colors by mixing. Not only can they be used as starting materials oil paints, but also colored water, plasticine, etc.

9. Offer to invent something new fantastic creature, a cross between an insect, a mammal and a fish. Ask them to describe this new creation: what it eats, where it lives, how it moves, etc. Then ask them to draw it on paper.

10. Ask your child to name his favorite dish and tell why he loves this dish more than others. The topic for the story can be your favorite animals, fish, insects, plants, etc.

11. Invite your child to imagine that with the help of magic he can turn into a car or an animal. Ask him which option he would prefer and why.

By working within these exercises, you will be able to determine how the level of development of creative thinking in your child is gradually changing.

Communication sphere. We conclude with some recommendations on how to develop Creative skills child in the sphere of communication.

1. Invite your child to try his hand at different roles: flight attendant (steward) and waiter, hairdresser and teacher, seller and buyer, etc. How does he cope with provocative situations? What is the solution when communicating with non-standard passengers (buyers, etc.)?

2. Offer to be the first to answer the phone. Thank him if he does a good job as a dispatcher.

3. Ask yourself to explain to the seller which toy (or product) you need to get from the store shelf.

4. Before the birthday, suggest calling grandparents, friends, etc. and inviting them to the party.

5. Let the child tell the teacher on Mondays how the weekend went. You can share interesting events every morning.

If a child does not experience communication difficulties, it is usually not difficult for him to adapt to school life and the process educational activities. And the higher the level of his creative abilities, the more interest each communication opportunity will generate.

So, parents have many opportunities for developing creative abilities. A child will play any game suggested by adults if it is within his capabilities, corresponds to his level of knowledge and skills, and provides the opportunity to achieve more.

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Let's draw monotype technique with children: everything ingenious is simple

Is your little one constantly trying to get himself dirty in anything, and then, with a fascinated look, draw intricate figures on the walls with his hands? Rejoice: even if you don’t raise your child to be a modern Michelangelo, you can be sure that creativity it is definitely present in it. Therefore, your most important task should be to help your baby develop this little talent. And an excellent method to direct in a peaceful direction is regular smearing of surrounding objects. drawing technique« monotype» . The Greeks used this clever word to describe the technique of imprinting a design from one surface onto another.

A LITTLE THEORY

Before you do monotype, you should decide on the choice of materials. The main rule is no rules, except for safety. You can draw on a wide variety of surfaces (paper, cellophane, plastic board and even a kitchen tray) and any colors (finger painting, watercolor, gouache). And as a brush you can use any available material, including cotton swabs and your own fingers.

Drawing monotype technique will not leave little artists indifferent, because you never know what the result will be in the end. And each subsequent print will be different from the previous one, and isn’t this a reason for developing imagination?

How to do monotype. Practical exercises

The simplest monotype technique for children- this is when on one monotipiy dly deteihalf of a sheet you draw whatever your heart desires, and then bend the paper in half and get mirror reflection Pictures. You can also print the drawing on a second sheet - and the picture will be even more original. Now it’s time to exercise your imagination and try to figure out what happened in the end. The picture can be left as is or painted to make it more expressive. like this technique Even a small toddler will be happy to master it.

A little more original version monotypes: Drawing on a glass or plastic surface. You can apply an even layer of paint of the same color to the entire surface, then use a cotton swab or finger to draw what you have in mind. Or put colorful blots in random order and draw your own scribbles. After that all that remains is to spray "blank" water and place a sheet of paper on top. It is advisable that the latter does not get wet for as long as possible. Holding the corners of the paper, pull the sheet together with a sharp movement and let it dry. Now you can play again "guessing game".

The main thing is to do no harm!

Before you let your child become completely immersed in the creative process, show him the basic principles monotype techniques. And then give him the opportunity to draw some masterpiece himself. The main thing is not to interfere in the process, but to provide to the young artist complete freedom for imagination. It makes sense to help only if the baby himself asks for it. And this needs to be done in doses; it’s better to explain it again. Well, praising the little genius is a must!

For our masters we needed a class.

Drawing on a glass or plastic surface. You can apply an even layer of paint of the same color to the entire surface, then use a cotton swab or finger to draw what you have in mind.

Or put colorful blots in random order and draw your own scribbles. After that all that remains is to spray "blank" water and place a sheet of paper on top.

And with great interest Let's see what we can come up with.

Now let's dream up a little.

That we see frozen waterfalls, snow seems to be everywhere frost scattered the crystal.

After imagining a little, we get this interesting drawing.

And here is another drawing of ours.

Thank you for your attention!

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Good evening, dear colleagues! I present to your attention " Christmas decorations"with your own hands using plasticineography technique. Tasks: 1.

Good day, dear colleagues. I offer you a children's master class using the quilling technique. The children of the preparatory group did it.

Our group held a master class with parents on the topic “Drawing with non-traditional techniques.” Experience shows that you can draw in unusual ways.

Purpose: The master class is intended for children of primary school age, teachers, educators, parents and simply creative people.

The master class is intended for children of primary school age, teachers, educators, parents and just creative people. Backpack.