Introduction

Teaching schoolchildren artistic and creative skills and abilities at labor lessons as a socio-pedagogical problem

1 Educational and educational potential of creative activity

2 Arts and crafts in the system of teaching schoolchildren as a process of developing artistic and creative skills

Implementation of the process of formation of artistic and creative skills in schoolchildren at labor lessons

1 Didactic foundations for the formation of artistic and creative skills and abilities

2 Features of pedagogical activity in the process of formation of artistic and creative skills and abilities

3 Methodology and results of experimental work with students

4 Conditions for the successful formation of artistic and creative skills among schoolchildren in the process of making souvenirs and sewing soft toys

Conclusion

Bibliography

art creative lesson labor

Introduction

According to the wonderful teacher V.A. Sukhomlinsky, children should live in the world of beauty, games, fairy tales, music, drawing, creativity.

The development of artistic and creative skills and abilities is the most important task of primary education, because this process permeates all stages of the development of the child's personality, awakens initiative and independence of decisions, the habit of free expression, self-confidence.

Psychologists have established that the properties of the human psyche, the basis of the intellect and the entire spiritual sphere, arise and form mainly at preschool and primary school age, although the results of development are usually discovered later. The lack of creativity, as a rule, becomes an insurmountable obstacle in the senior classes when it is required to solve non-standard problems, interpret materials from primary sources, etc. B. Nikitin, among the five conditions for the development of children's abilities, puts forward an early start in the first place. From all this it follows that the teacher faces the task of developing the child's abilities, his creative skills and abilities, educating creative personality generally.

The authors of most inventions are known. In the life around us, creativity is a necessary condition for existence, and everything that contains at least an iota of the new owes its origin to the creative principle of man.

In the formation of artistic and creative skills, first of all, an aesthetic view of the subject, a culture of speech, behavior, work, aesthetic taste, and the creativity of the individual are brought up.

The main thing in the pedagogy of creativity is not to let God's gift fade away, not to prevent the "mysterious flower" from blooming in the child's soul. Creativity is available to children, moreover, it enlivens the cognitive process, activates the personality and forms it. In creativity, self-expression, self-disclosure of the child's personality are carried out.

A creative approach significantly affects the overall preparation of schoolchildren, contributes to a better assimilation of new knowledge in other disciplines and the harmonious development of the individual.

Relevance of the topic:At present, the need to prepare students for creative activity is obvious to everyone. In this regard, the role of the school in the education of active, enterprising, creative thinking people. The development of creative abilities, skills and abilities of students is important at all stages of schooling.

“The formation of a person,” writes L.V. Zaikov, - goes through many degrees. The initial stages of formation are very far from the long-term goal that the educator is striving for. But if these steps are reached through independent thought and living feeling, this is the sure guarantee of achieving the goal. Therefore, the sooner this experience is formed, the more successfully the child's personality will develop.

Unfortunately, at present, in the practice of the school, insufficient attention is paid to the aesthetic education of students, systemic knowledge about compositional patterns, categories of aesthetics, and the content and purpose of artistic and labor activity is not formed. Therefore, it is important to conduct purposeful work on the development of creative skills, aesthetic ideas, views and taste.

What place in such work can be occupied by labor training? There is reason to believe that it is very noticeable. We can use the subject-practical activity of students as a universal tool that allows them to translate complex, speculative, abstract ideas into a clear, understandable plan. Moreover, these ideas can be very different: rational-logical or spiritual-emotional. With the help of hands, it is easier for a child to understand the meaning of both.

Thus, manual labor can be not only the work of hands, but also a real creative search. It depends on the teacher to make them effective in terms of creative and general development children. It is necessary, by combining creative efforts, to transfer the lessons of labor training from the category of "secondary" to the most paramount, as they should be in school.

This led to the choice of this topic.

Subject of researchis a methodology for the formation of artistic and creative skills and abilities of schoolchildren in labor lessons.

Object of study:the process of teaching schoolchildren, as a result of which artistic and creative skills and abilities are formed.

Goal of the work:reveal the methodological foundations of the lesson thematic planning and organizing classes for the manufacture of soft toys and souvenirs.

Working hypothesis:The formation of artistic and creative skills and abilities in schoolchildren contributes to the development of creative thinking, creative abilities, the harmonious development of the individual and will be successful if the methodological foundations of creative activity are disclosed.

Based on the goal and hypothesis, the following tasks:

To reveal the educational and upbringing potential of creative activity.

To reveal the role of arts and crafts in the formation of artistic and creative skills and abilities.

To identify the features of the teacher's pedagogical activity in the process of forming artistic and creative skills and abilities.

To reveal the methodology for lesson and thematic planning and the organization of classes for the manufacture of soft toys and souvenirs.

To identify methodological conditions that contribute to the formation of sustainable artistic and creative skills.

To develop a system of tasks aimed at the formation of artistic and creative skills and abilities.

To solve the tasks, the following methods are used:

study of school programs on labor training;

conversation with students;

theoretical analysis of psychological and technological-pedagogical literature on the research problem;

experimental method - observation of the activities of the teacher and students in the educational process;

qualitative and quantitative analysis of experimental data.

Practical significanceconsists in the fact that the methods of formation of artistic and creative skills and creative tasks proposed in the work can be used in the lessons of labor training and in extracurricular activities.

Reliability of resultsis determined by the initial theoretical and methodological provisions, based on scientific and didactic material.

The above determines the structure of the work, which consists of an introduction, two chapters, a conclusion, a bibliographic list.

1. Teaching schoolchildren artistic and creative skills and abilities in labor lessons as a socio-pedagogical problem

.1 Educational and educational potential of creative activity

According to Vygotsky, we call creative activity such human activity that creates something new. Thus, the activity of students can be called creative if its result is a product with novelty. Of course, schoolchildren in the classroom cannot create products of social novelty and significance, therefore such a definition of creative activity, and even for students, cannot be accepted. Innovative teacher I.P. Volkov writes that the creativity of a schoolchild is the creation of an original product, a product, in the process of work, on which the acquired knowledge, skills, skills are independently applied ... creativity, individuality, art are manifested at least in a minimal deviation from the model. In the process of creative activity, first of all, the creative abilities of the student develop, which include the development of creative imagination, observation, and extraordinary thinking.

In the process of forming creative activity, the teacher needs to develop artistic and creative skills and abilities in students, which is determined by the requirements of society for the younger generations. And the process of developing creative skills is directly related to the development of the creative abilities of the individual and aesthetic education. Based on the above, we give general characteristics and the structure of creative learning and student learning. Creative learning is the goal of increasingly complex objective tasks that cause the student to need to master special knowledge and skills, to create a new solution scheme that has no analogue in his experience, new methods of action.

At the forefront is not only the actualization of previously acquired knowledge and already formed methods of action, but also the advancement of a hypothesis, the formation of a sign (idea) and the development of an original plan for solving a problem, finding a way to check the solution by using independently noticed new connections and dependencies between the data and the desired, known and unknown. Creative learning as a process during which a full-fledged organization of the assimilation by students of the entire composition of the content of education is carried out, which, as shown above, has certain characteristics, develops in accordance with its inherent objective laws. We will reveal some of the most significant regularities.

The basis of learning in the structure of creative learning is the connection "goal - means - control", and the central technological link is the student's independent educational and cognitive activity, based on the child's ability to regulate his actions in the course of learning in accordance with the perceived goal. These actions, aimed at changing objects and phenomena, cause a certain process in the child's behavior, motivated by a particular need. In order to master the content of an activity, the student must see and reveal the system of meaningful operations contained in it. Consequently, the assimilation of knowledge and the formation of methods of activity appear in the structure of creative learning as a process and result of the student's activity. Without knowledge, there is no skill and creativity. At the same time, knowledge alone is not capable of providing either the usefulness of the knowledge itself or the versatility of the formation of intelligence. There are 3 levels of learning:

the level of awareness of the knowledge perceived and fixed in memory;

the level of readiness for the creative application of knowledge in new situations;

Each new level modifies the acquired knowledge, making it stronger, richer and more operational. Note that this happens because the student at each level not only deepens the content of knowledge, that is, learns its new connections, but also assimilates other types of educational content - the experience of performing methods of activity according to the model and the experience of creative activity. Consequently, one of the conditions for the full assimilation of knowledge is the inclusion of students in the process of creative application of the initially acquired knowledge. At the same time, it is important to take into account that not all knowledge is subject to such application, but mainly the basic ones that make up, as it were, a support, that is, basic normative knowledge (about rules, methods of action); moreover, not every one of the mentioned knowledge requires both levels of application. In some cases, there are enough tasks for the creative application of knowledge in order for this or that skill to be mastered.

The most important components of teaching as an activity are its content and form. The content of the activity of the teaching, and, first of all, its objectivity, both sensory-objective and material practice, has an objective-subjective nature. The subject, reality, sensibility in teaching are not just objects or forms of contemplation, but sensual-human, subjective cognitive practice. The subject of the student's activity in the process of learning is the actions performed by him to achieve the intended result of the activity, prompted by one or another motive. The most important qualities of this activity are independence, which is expressed in self-development.

The essence of teaching lies in the fact that the student not only acquires subject knowledge and skills, but also masters the methods of activity in relation to the assimilated subject content. Therefore, when developing a project of teaching, a distinction is made between the process of educational activity in which assimilation takes place, and the assimilation itself. The constructive activity of the student is caused where he enters into a specific interaction with its elements - knowledge about objects and phenomena of the higher world as means of cognition. These interactions are included in the content of search cognitive activity with a wide use of intuition and are associated with the development of the cognitive process in knowledge. The most effective search activity is carried out when theoretical scientific provisions that underlie all variants of activity act as means of educational knowledge.

The ultimate goal of the formation of creative educational activity is the formation of the student as its subject, the achievement of such a level of development of students when they are able to independently set the goal of the activity, activate the knowledge and methods of activity necessary to solve the problem; when they can plan their implementation, correlate the result with the goal, that is, independently carry out educational activities.

It should be noted that the formation of creative potential in the independent activity of schoolchildren is achieved by a purposeful change in the measure of the concrete and the general in mastering practical and cognitive actions. This is one of the important conditions for this process. It can be concluded that increasing the degree of independence in the process of forming educational activities can go in different directions, however, the success of their implementation depends on how reasonable the measure of the specific and general in the organization of schoolchildren's activities in each of these areas will be.

The most important conditions for creative learning are the pedagogical foresight of the teacher and the foresight of the student. When selecting the content of knowledge, structuring educational material, choosing methods and forms of organizing training, pedagogical foresight is expressed in the system of everyday “micro-shifts” in the activity and behavior of the student, in the ability of the teacher to make a pedagogical “diagnosis”, and on its basis to put forward, clarify and design tasks, to anticipate the results of their actions and the activities of students, plan and create situations, make decisions in constantly changing conditions. The student's foresight is due to the fact that in creative learning, along with the process of mastering knowledge (mode of action), the process of constructing new knowledge (mode of action) is constantly functioning. The student mentally interacts with his knowledge of objects and phenomena outside world as a means of knowledge. We emphasize that the realization of the student's foresight is connected with his knowledge of the variant that underlies various types of activity and method of activity. From this it follows that for students the result of creativity can have both objective and subjective novelty: individual or social significance. At the same time, a necessary component of creative activity is the search and application of original ways of solving problems and assignments.

From the foregoing, it follows that the result of the creative activity of students is a whole complex of a creative personality: mental activity, the desire to acquire knowledge and form skills to perform practical work, independence in solving a problematic task, diligence, ingenuity, etc.

The ability to set and solve problems of various types and varying degrees of complexity is the most feature creative activity. For creative tasks, it is characteristic that the process of creative activity is associated with a large uncertainty in the search area, the solution in most cases is multivariate, and the solution process is creative. Most creative tasks involve one or another contradiction. This explains their creative nature. The contradiction is the cause of the problem situation, which activates the cognitive activity of the problem solver. The main way of all contradictions is their ability to "bring thought to an achievement."

The student, in the course of searching for a solution to the main contradiction, operates with existing knowledge, acquires new knowledge, widely uses the operations of thinking (comparison, opposition, analysis, synthesis, etc.), associative connections, memory capabilities, analogies and other techniques that allow not only to solve the problem, but and develop the intellectual sphere of the student. Studies show that, in relation to schoolchildren, it is necessary to take into account the specific conditions for the flow of creativity (the level of knowledge, skills, abilities at different stages of their education, guidance from the teacher, creation special conditions). Taking into account these features, for organizing the creativity of students, five stages of the creative process are distinguished:

understanding and justification of the idea;

technical development of the problem;

practical work on the problem;

approbation of the object in work;

product quality.

At the same time, each stage has a clearly expressed intermediate result, which at the first stage is the comprehension and accepted idea-task; on the second - bringing the idea to the possibility of practical implementation (design and technological development of the task); on the third - practical implementation tasks; on the fourth - analysis of the solution of the creative problem and refinement of the object, on the fifth - evaluation of the quality of the product.

Research and best practices to include students in the cutting edge creative activities of all age groups indicates the dependence of its effectiveness on the fulfillment of the following basic pedagogical requirements:

feasibility for a given age of the content of creative tasks and tasks, taking into account the level of scientific foundations and labor skills and abilities;

the effectiveness of creative activity, by which we mean the implementation of an idea into a material form (finished product, prototype, model, drawing, description text);

continuity of the creative process;

taking into account and using their own creative experience in further activities.

The requirement for performance is particularly important. Obtaining the result causes a positive emotional mood among students, stimulates their creative activity. Efficiency is considered not only in relation to the final "product" of creative activity, but also in relation to each stage of the creative task. The study of the stages of the creative process and pedagogical requirements for conducting classes to include students in the creative process is directly related to the development of creative abilities, both students and adults, and directly leads researchers-teachers to the need to develop a methodology for developing students' artistic and creative skills through assessing the result of their creative activity.

Note that the teacher has a leading role in the organization of children's creativity. His psychological, pedagogical, methodological and special training largely determines the creative activity of students. Practice shows that teachers use various methods and techniques, which include: product modeling, manipulative design, the use of technical documentation with reduced data, solving creative and inventive problems, etc. The content of work in modern conditions is measured not only by the degree of its intensity, but also by the level of manifestation of creativity, the development of creative skills and abilities. Moreover, an objective trend is observed with the development of society: the intensity and amount of physical labor decreases, while intellectual creative labor increases. The assessment of labor and the worker is also changing.

Creative work, and hence a creative person, is becoming increasingly important. In modern conditions, the development of knowledge, skills and abilities of a creative person is paid attention to by sociologists, teachers, and psychologists. Psychologists have convincingly proved that the inclinations of creative abilities are inherent in any person, any normal child. The difference lies only in the scale of achievements and their social significance.

No less important than the previous one is the conclusion of psychological and pedagogical science that artistic and creative abilities must be developed from an early age. In pedagogy, it is considered evidence that if creative activity is not taught from a sufficiently early age, then the child will suffer damage that is difficult to compensate for in subsequent years. Therefore, creativity must be developed from an early age.

Pedagogy also determined the ways of developing creative abilities. Common to them is the inclusion of students in creative activities. As you know, the main work of students is study. Therefore, it is quite obvious that in order to cultivate creative personality traits in students, work must be made creative. In labor education, to a greater extent than in other subjects, various teaching methods are used to develop the artistic and creative skills of students. Teachers constantly resort to solving creative problems, using problems, creative experiment.

In the process of learning, creative activity forms in schoolchildren a number of qualities that will ultimately have a positive effect on the personality of the future worker, engineer, and scientist. The formation and development of artistic and creative skills and abilities is the most important aspect in educational activities.

Psychologists pay more attention to the timely identification of students' abilities for a certain type of creativity, to establishing the level of their formation and the sequence of development. An analysis of psychological and pedagogical research and experience leads to the conclusion that the development of artistic and creative skills creates, first of all, favorable conditions for the development of students' creative thinking.

It is in a complex relationship with ordinary thinking, that is, all the components of ordinary thinking are also inherent in creative thinking. For example, one of the most important operations of ordinary thinking is comparison. It turns out that creative thinking is unthinkable without it. The same can be said about such operations of thinking as opposition, analysis, synthesis. Ordinary thinking creates psycho-physiological prerequisites for the development of creative thinking. As a result of ordinary thinking, the child's brain develops, its associative sphere, memory, and the flexibility of thinking is acquired.

At the same time, the conceptual and figurative apparatus of ordinary thinking does not have the concepts and images that are necessary for creative thinking. And the concepts themselves are distinguished by their nature in ordinary and creative thinking.

In creative thinking, in contrast to ordinary thinking, the images that students operate with are significantly different. Information about the shape of the object of creativity, about its size and other features is given not by ready-made samples, as in ordinary thinking, but abstractly. When solving creative problems, it is very difficult to imagine the end result. Any technical solution must be subjected to practical verification. As in ordinary thinking, artistic images, being the most important component of creative thinking, do not exclude abstract thinking.

The features of creative thinking discussed above allow us to conclude that the formation of its main components should be carried out at labor lessons. Particular attention in the process of developing artistic and creative skills should be given to the formation of artistic concepts, spatial representations, and aesthetic categories.

In the process of creative activity, students are faced with the need for additional knowledge about art, in the study of special literature.

For the further development of creative personality traits, it is very important independent work for the acquisition of knowledge. It develops general and creative thinking. In turn, the development of intelligence contributes to a deeper understanding of cause-and-effect relationships in natural phenomena.

Artistic and creative skills also contribute to the acquisition of experience in creative activity, which is of great importance for the formation of personality. It allows you to acquire new knowledge based on the acquired knowledge and skills. Experience contributes to the development of skills to transfer knowledge and skills to new conditions of application. In the practice of creative activity, there are many cases when complex creative tasks were solved precisely thanks to the transfer of experience in solving similar problems.

Creative activity contributes to the formation of a transformative attitude towards the surrounding activities among schoolchildren. A person who is not engaged in creative activity develops a commitment to generally accepted views and opinions. This leads to the fact that in his activity, work and thinking he cannot go beyond the known. Over time, the stereotype of such activity is fixed and affects the inertia of thinking, which is difficult for a person to get rid of. If from an early age children are included in creative activity, then they develop inquisitiveness of mind, flexibility of thinking, memory, ability to evaluate, vision of problems, ability to foresee and other qualities characteristic of a person with a developed intellect. With age, these qualities are strengthened and become integral features of a person's personality.

The effectiveness of the formation and development of artistic and creative skills largely depends on the ability of teachers to organize the creative activity of students. One of the main pedagogical requirements for student activity is taking into account the age characteristics of schoolchildren.

Without taking into account the peculiarities of the development of the psyche of students, it is impossible to correctly correlate the goal, motives and means of achieving the goal. The motives of the activity require special attention. After all, they actually determine the interest in work, the emergence of a problem situation and the desire to achieve the goal.

Great knowledge in the development of artistic and creative knowledge, skills, has the continuity of the creative process. Practice shows that episodic creative activity is ineffective. It can arouse interest in a particular work being performed, activate cognitive activity during its implementation, and may even contribute to the emergence of a problem situation.

But episodic creative activity will never lead to the development of a creative attitude to work, the desire for invention, and the development of the creative qualities of the individual. Continuous, systematic creative activity throughout all the years of schooling, as experience shows, will certainly lead to the cultivation of a sustainable interest in creative work.

Of great importance in the formation of artistic and creative skills is the education of creative personality traits and the effectiveness of creative work. The economic effect of creative efforts is a powerful incentive for creative activity.

Getting acquainted with production, students find an opportunity to improve equipment, tools, technological processes, and then form technical specifications and develop them. And often they find solutions that are rationalization proposals and even inventions.

Thus, taking into account the pedagogical and psychological points of view, the formation of artistic and creative skills and abilities is an effective means of education, a purposeful process of teaching and developing the creative abilities of students as a result of the creation of material objects.

1.2 Decorative and applied arts in the system of teaching schoolchildren as a process of developing artistic and creative skills

It is impossible to imagine our life without many necessary items: furniture, dishes, fabrics, flower vases, decorations, etc. Those of them that, while performing practical functions, at the same time have aesthetic qualities, belong to the works of arts and crafts.

Decorative and applied arts are artistically executed household items, decoration (streets, premises), as well as objects intended to decorate a person (jewelry).

“Decorative” in Latin means “to decorate”, and “applied” indicates the practical usefulness of objects created by this art. The impact of this art is constant, as it shapes subject environment in which people live.

Decorative and applied art arose in the process of people's labor activity and is directly related to their daily life and diverse needs. The first works of applied art are found in the Stone Age. Until the Renaissance, it existed and developed in the form home craft, and then - folk art crafts in the village, shop and craft organizations in the city. Folk art crafts have survived to this day. Some of them have a long history and go back to the antiquity of tradition, others have arisen before our eyes, literally in the last decade. They are very diverse. The works they create are objects of decoration and decoration. With them, joy and beauty come to a person's house.

Decorative and applied art is very diverse and includes many genres. They are determined either by the practical purpose of the thing (furniture, dishes, jewelry); or the nature of the performance (artistic embroidery, carving, painting, weaving); or the material from which the thing is made (metal, bone, textiles, ceramics).

The specificity of classes in decorative art reveals ample opportunities for the knowledge of the beautiful, for the education of an emotionally imaginative, aesthetic attitude to reality. Decorative and applied art shows a person the world of real-life beauty, forms his aesthetic and moral beliefs, influences behavior, it covers almost all types of artistic activity of people.

A modern teacher must master the theory and practice of all types of decorative art with the proper depth and use it to develop students' high aesthetic taste and skills of artistic creativity, to cultivate high moral qualities of diligence.

There are many folk crafts in our country, such a unique variety of types of decorative and applied arts is not found in any country in the world. One of the young types of arts and crafts in our country is beading, which received the greatest development only in the first half of the 19th century. Fabrics, handbags and purses were also woven from beads, decorative pillows and spectacle cases were embroidered. The technique of making beadwork has been passed down from generation to generation. Where did it all begin?

The historical aspect of the development of beading. From the history of beads

Making jewelry from beads has a very ancient history. Even when there were no beads as such, a person put on a string of beads around his neck from beautiful pebbles or fangs of dead animals. In the ancient excavations of many peoples who inhabited our planet, processed stones with drilled holes were found. As decorations, natural materials such as shells, claws and bones of various animals. With the development of crafts, metal beads begin to come across.

And finally, around the 4th millennium BC, glassmaking was invented. There is a legend about this important event for mankind. It tells that the Phoenician merchants, returning on a ship from Africa with a cargo of soda, spent the night on a sandy shore. For cooking and protection from the night cold, they needed a fire. Finding no suitable stones, they made a hearth out of the soda they had brought with them and kindled a large fire. They ate and settled around him for a night's rest. In the morning, raking the ashes, they found an ingot of an unusual substance in the fire. It was hard as stone, transparent as water, and burned with fire in the sun.

Since that time, the history of glassmaking began. Humanity has got glassware and, of course, glass beads. The oldest bead was found during the excavations of the city of Thebes. Centuries passed, technology improved, beads became smaller and smaller in size. So small beads appeared in the world, called "beads".

The Egyptians were the first to learn how to make beads. They made necklaces out of it, embroidered dresses for them. Following Egypt, beads appeared in Syria. The secrets of these peoples were adopted by the Roman Empire. In the city of Alexandria, founded by Alexander the Great in the 1st century BC, was invented new way bead making.

From the 1st century AD beads are produced in many European countries - in Italy, Greece, Germany. After the collapse of the Great Roman Empire (in the 4th century AD), Byzantium became the center of glassmaking. And finally, in the 10th century, bead production appeared in Venice. Since that time, the true flowering of glassmaking begins. The little bead conquers the world.

For many centuries, Venice has been a center for the production of beads. Trade in this fragile commodity brought large profits. But glass production was not very safe. Fires often broke out in the workshops, which became a real disaster for the city. Therefore, in 1221, a decree was issued according to which glass workshops were taken out of the city to the island of Murano. For many years this island became the only bead-making place in Europe. At that time, Venice supplied the entire known world. Merchants took it to all countries. European travelers must take it with them. The natives of Africa, America, the inhabitants of numerous islands really liked these glass balls. They gladly exchanged them for gold. In the countries of the East they were exchanged for spices and silks.

Big incomes breed big passions. The Republic of Venice protected the secrets of making small multi-colored balls in every possible way. It was forbidden to export raw materials so that it was impossible to establish the composition necessary for the manufacture of beads. But the masters remained the main keepers of secrets. A policy of carrot and stick was applied to them: on the one hand, they were given various privileges, and on the other hand, a decree was issued on treason and the punishment of runaway masters. To the masters, who left the country and did not want to return, even special killers were sent. Many European countries tried to unravel the secrets of the production of beads, but for a long time they did not succeed. In the XVIII century, the masters of Thuringia invented a method for making light puffed beads - the prototype of modern Christmas decorations. And in Bohemia, they learned how to make glass that surpassed all previously known products in brilliance and hardness. It was especially popular in the late 17th and early 18th centuries. Czech craftsmen produced faceted Bohemian beads and covered them with multi-colored enamels.

Russia has never been a center for the manufacture of beads, however, this bright multi-colored material has become widespread in it. Despite their ancient appearance in Rus' (glass beads have already been found in excavations dating back to the 3rd-4th centuries), beads and glass beads have recently received modern names. In Russian explanatory dictionaries of the 15th-16th centuries, the word "beads" meant pearls. And only in the 17th century, small multi-colored glass beads began to be called beads. The name "bugle" appeared even later, in the 18th century. Until that time, it was called odekuy.

Glass products were not only imported into our country. In Kyiv, glass-making workshops already existed in the 9th century. Moreover, small beads, resembling European beads of the 18th century, were found in layers dating back to the 9th-13th centuries.

With the advent of the Tatar-Mongol horde, the development of glassmaking in Rus' was interrupted approximately until the 16th century.

At the beginning of the 17th century, the first Russian glass factory began operating in the village of Dukhanino. In order to establish the production of beads, "commissar" Ivan Gebdon was sent to Italy and Holland in order to hire "kind skilled people", including masters of the "glass" business, into the royal service. And in the village of Izmailovo near Moscow in 1668, a glass factory also began to be built.

Upon completion of construction in 1670, Venetian craftsmen arrived in Moscow. But, unfortunately, it was not possible to establish the production of beads at this plant. Beads continued to be imported to Russia from Europe.

A great contribution to the production of beads was made by the great Russian scientist M.V. Lomonosov with his research in the field of color theory and numerous experiments on obtaining colored glass for mosaics. The great scientist asked for permission to build a factory for "making" the "colorful glasses" he invented and from them beads, threads, bugles and all sorts of other haberdashery things and attire. In his reports, he cited specific data on the import of beads and glass beads into the country, pointing out that beads and glass beads “are still not made in Russia, but they bring a great amount from over the sea at a cost of many thousands.” Only through the port of St. Petersburg in 1748 were imported 472 poods of beads and two poods with a small glass beads. And in 1752, beads were imported four times, and glass beads - fourteen times more.

In 1753, near St. Petersburg, in the village of Ust-Ruditse, the construction of a factory began. In 1755, she released the first products. Unfortunately, soon after the death of Lomonosov in 1766, the factory ceased to exist. For all the time of its work, it produced about 100 pounds of glass beads and several hundred pounds of beads.

Until now, factory production of beads in Russia was no longer involved, only craft centers are known. The products of these centers were sold at the famous Nizhny Novgorod fair, and the scope of production can be judged by the assessment finished products- about 100 thousand rubles.

Products of such industries were successfully demonstrated at exhibitions in France, America and were in great demand. Nevertheless, the bulk of the beads continue to be imported to Russia from Europe to this day.

The development of beading

The history of jewelry is inextricably linked with the history of culture and the development of mankind. Through jewelry, a person expressed his understanding of the world. A large layer of human culture is associated with small glass beads. The peoples who escaped the influence of European civilization keep these traditions to this day.

It is difficult for us to understand the reasons that forced the natives of America to accept glass beads and other trinkets from Europeans in exchange for gold. To realize the high value of these goods for the Indians, it is necessary to consider glass beads in the context of their culture. The value of an object depends on its perception. Europeans saw in glass beads just drops of multi-colored glass, a cheap exchange commodity. Conversely, beads were valuable and highly desired by Native Americans. This value was determined by a large number of socio-economic, political and religious factors. Jewelry was used to show a person's connection to a particular group. The beads confirmed agreements and helped to preserve the oral tradition. The beads were used in dance, healing and sacrifice ceremonies.

The Indians decorated their homes with beads, weaved ribbons of beads into their hair, and embroidered their costumes. Everything was decorated with beads: ritual belts, headbands, cradles for children, snuff boxes. The dress of the Indian took more than six kilograms of beads. By appearance of such a costume, according to the features of the ornament, it was possible to judge the place of residence of a person and his social status.

Beadwork was also used as cult items. Russian travelers described how, before making important decisions, the leaders of the Indians sorted out beads in their hands.

Time passed, and multi-colored glass beads lost their original meaning. Now these products are used exclusively as jewelry.

In Rus', beads were not highly valued compared to pearls: only humble people decorated their clothes with them. Beaded finishes existed in parallel with pearls, but in much smaller quantities. Most of the jewelry was made from pearls, which were mined in great abundance in rivers. Pearls were used to create necklaces, cuffs, bracelets and underwear, parts of folk clothes were embroidered with them.

And only from the 18th century began the widespread use of beads. Icon frames are embroidered with it, covers are decorated with it, it is hung up as tassels, and various decorations are made from it.

Huge embroideries are used instead of wall upholstery (such, for example, is the glass-beaded cabinet of the Chinese Palace in Oranienbaum, now the city of Lomonosov).

Since the 19th century, Russia has been experiencing a real bead boom. At this time, a huge number of small jewelry with beads is created. New wave hobby for beads in the West finds many supporters in our country. Beadwork techniques are mastered by representatives of various social strata, including wealthy city dwellers and even noble ladies.

A huge number of different products during this period come out of the hands of forced laborers of landowner workshops and craftswomen of monasteries. So, in one of the estates of Count Taranovsky there was furniture, all the seats of which were covered with beaded embroidery. The main method of work in the 18th century was planting on linen, that is, sewing beads strung on a thread along a cord of cotton or linen thread laid out in a pattern - a technique that was used in ancient times for sewing pearls. At the same time, a new method of embroidery begins to be developed, when beads are strung on a thread and sewn with another thread at short intervals (a method very similar to traditional Russian gold embroidery). This technique, called pinned sewing, is used to create panels and paintings. In the manufacture of covers, weaving boxes, the technique of threading was used, and the beads were stringed in one of two ways: two threads passed into the hole of the bead parallel or towards each other.

Since the end of the 18th century, the ways of working with beads have been expanding. New techniques for embroidering beaded patterns on canvas are born. There are works made in the technique of weaving. Beaded clothes are back in fashion. The collections of the State Hermitage contain many unique objects of those times, which still have not lost their brightness and attractiveness thanks to this durable material.

During this period, beadwork becomes more utilitarian: ladies' handbags, wallets, cases for chibouks, coasters and house slippers are embroidered with beads.

A huge amount of beads entering the domestic market of Russia makes it accessible to the rural population. And beads begin to appear in folk costume items. It is used to decorate headdresses, false collars are made from it, and a large number of various neck ornaments are made. Necklaces made in the form of a strip of embroidered fabric fitting around the neck with a beaded or glass mesh attached to it are becoming widespread. Pectoral decorations are made from stringed chains. Belts are decorated with beads. The world experienced the greatest flourishing of the passion for beads in the late 19th - early 20th centuries. With the beginning of the scientific and technological revolution, with the advent of new materials and fabrics, interest in it has somewhat weakened.

But everything new someday becomes familiar, and the magic of multi-colored drops begins to attract us again. Recently, the old schools of beading have been revived everywhere. The world industry produces beads and bugles of various sizes, gives them the most intricate shapes and countless color shades.

We can again see it being used by leading couturiers around the world. The production of jewelry made of beads has recently reached an extraordinary flourishing. Beaded bracelets and pendants, belts and watch straps have become very fashionable again. The combination of beads with other techniques and new materials gives a result of fantastic beauty, and the relatively low cost makes this hobby accessible to everyone.

Moral education of schoolchildren in the process of formation of artistic and creative skills and abilities

Moral feelings and behavioral skills are the core around which moral and ethical views and beliefs are formed. Experience suggests that any education should be, above all, moral. Creative activity enables the child to express his attitude to the events of life, his feelings, his understanding. The modern school seeks to educate a creative personality, and this implies a high level of intellectual activity of the child. Studies show the most direct connection between the level of intellectual activity and the moral qualities of a person.

It is important that people with very high mental abilities and excellent knowledge in their field, but showing in their activity either a tendency to self-affirmation or to avoid failures, turned out to be at a low, stimulus-productive level of intellectual activity. So, the main barrier on the way to creativity is the deformation of the motivational structure of the personality. That is why we should talk about the task of forming a creative personality at school, and not just about developing creative abilities. The main indicators of mental development are a rich stock of knowledge, the degree of systematic knowledge, mastery of rational methods (methods) of mental activity. Understanding learning as the accumulation of knowledge and at the same time mastering the ways of operating with them removes the contradiction between the processes of learning and creative development.

Thus, the teacher must take care not only of external management mental processes of students, but also about ensuring self-regulation of educational activities, taking into account the student’s already established attitude to learning. It is important to remember that a high level of intellectual activity, at which creative problem solving is possible, is achieved by schoolchildren with a certain motivation, moral attitudes.

Orientation towards self-affirmation, rivalry, avoidance of failures becomes a barrier to creativity, even with great intellectual potential. Therefore, the teacher faces the task of educating a creative personality as a whole, and not just the formation of individual thought processes.

Aesthetic education in the process of formation of artistic and creative skills and abilities

Aesthetic education - targeted system formation of a person's ability to approach the world, evaluate objects and phenomena and transform reality according to the laws of beauty. the main objective aesthetic education - the awakening and development in people of artists, creators of a new life, corresponding to modern ideas about the beautiful and the uplifted. Aesthetic education covers all spheres of human life and activity - work, life, communication and behavior. Art plays a special role in it.

Long before our ancestors learned to sculpt and draw, for many millennia, for the emergence of art in today's sense of the word, an aesthetic feeling arises and forms in people. The ability to contemplate, to perceive beauty awakens in a person, i.e. feel the world around, while experiencing a special pleasure of pleasure.

The primary aesthetic school is nature. Nature is the permanent environment of man, the natural environment in which he lives, and which leaves a significant imprint on his life. Nature reminds a person of himself and, because of this, is the subject of aesthetic experiences for a person.

For the aesthetic education of children and for the development of their artistic and creative abilities, acquaintance with works of fine and decorative art is of great importance. Aesthetic education by means of art is an integral part of the comprehensive development of the individual. The brightness, expressiveness of images causes an aesthetic experience, helps children to perceive the phenomena of life deeper and more fully and find a figurative expression of their impressions in creating their own creations.

In addition, it is necessary to develop aesthetic perception, which is directed, first of all, to the object as a whole, to its aesthetic appearance.

The creative activity of children is one of the important means of aesthetic education. This is manifested in the development of the ability to see and understand beauty, in the development of aesthetic feelings, in the process of creating products, in the selection of materials for classes, which allow achieving the most expressive performance of the task. The upbringing of the desire to do work better, to make it more beautiful, so that others rejoice at it, is the task of aesthetic and moral education, the development of a social orientation in children's activities.

Discussing the issue of the age at which aesthetic education should begin, the vast majority of teachers agree that this should be an early age. “The artistic education of the people is, first of all, the education of children, the younger generation. Everything else is a palliative... Construction can and should only be started from the beginning - from the foundation,” writes the poet P.G. Antokolsky.

The development of aesthetic feelings is directly related to the subtlety of color sensations, therefore, a large role in the manufacture of products belongs to their color design, which has a huge impact on the development of the artistic taste of children. Color emotionally affects the child, captivating him with colorfulness, brightness. Therefore, it is important to purposefully develop a sense of color as the most accessible representation of the beauty of the surrounding world and works of art. The teacher must constantly explain to the children why one or another color should be taken for work, what combinations are suitable for it in order to create the most expressive product.

Color is a sensation that occurs in the human organ of vision when exposed to light reflected from objects in the surrounding world. A person can only see what has color, everything colorless is invisible to our eyes.

From ancient times to the present day, color has been closely associated with human life in its various psychological, emotional and spiritual manifestations. In ancient civilizations, a certain symbolism was attributed to color. For example, white color meant goodness, healing, victory over evil spirits; red - symbolized life, energy, strength; while black is a sign of permission, evil, illness, death. Later, the symbolic content of color was almost lost, but even today, through color, one can control mood and attention, draw the eye to objects in a certain sequence: from the main to the secondary.

All color varieties can be divided into 2 large groups. Colors are chromatic and achromatic. "Chromos" in Greek means color. The group of achromatic colors is white, black and all shades of gray. All other colors and shades found in nature are chromatic. Color has the main characteristics:

Color tone -it is the quality of a color that allows it to be named; something specific that only one specific color has (blue, green, brown, etc.).

The natural scale of color tones is the spectrum of the sun's color (red, orange, yellow, green, blue, indigo, violet). In addition to the spectral colors in nature, there are purple colors, which are obtained by mixing red and purple colors.

Lightnessis the degree to which a color tone differs from black or white. The lightest is white, the darkest is black.

In spectral colors, yellow is perceived as the lightest color, and purple is perceived as the darkest.

Lightness is the only characteristic of achromatic colors.

Saturation -this is the degree of difference between a chromatic color and an achromatic color equal to it in lightness. The most saturated are the spectral ones, which do not have achromatic impurities and the color tone is expressed as sharply as possible.

All chromatic shades are obtained by mixing colors. But there are three colors that cannot be obtained by mixing - these are red, blue and yellow. They are called primary colors. All other colors are the result of their mixtures, therefore they are called derivatives.

The system of color correlation, which forms a certain harmonious unity, is called color.Color causes a certain emotional reaction in a person and causes color associations. For example, differently colored objects may appear warm or cold. Warm colors include all shades of red and orange, i.e. colors of fire, sun. The group of cold colors consists of blue, blue and blue-green, which are associated in our minds with the color of water, snow, ice. All light tones appear lighter than dark ones. Unsaturated ones are heavier than saturated ones. Of the spectral lightest - lemon yellow, the heaviest - purple.

Being in the same plane, light chromatic colors seem closer than dark ones, any chromatic is closer than achromatic. Cold colors are perceived as receding, as opposed to warm colors, which are approaching the viewer. Understanding the role of color culture in personality development, many countries create favorable conditions for sensory education from an early age. In this regard, the experience of the Japanese school is interesting.

Japan uses the Irroritai color system. On its basis, the Institute of Color Science has developed a system for 240 colors that are mandatory for schoolchildren to study. All 240 colors have their own names and numbers, and therefore knowledge is easily controlled. They are built on the basis of 24 on the color wheel and 10 modulations of each of them. Japanese teachers believe that color education makes it possible to most widely develop the senses, creativity, aesthetic taste and the desire to constantly move towards beauty. "Magic colors" appear before younger schoolchildren in the form of little cheerful magicians who can work wonders, mixing with each other and forming new shades of color. Paints - red, yellow, blue, white and black - play with pleasure on the plane of the palette both with the teacher, allowing him to carry out various batches, and with students, who, by the way, upon careful examination of the tables, can themselves explain how this or that is obtained. different shade of color.

Each paint-man has its own face and character. Paint girls are dressed in dresses, and paint boys are in shirts and shorts. The demo set consists of eight tables that contain elements of color science. Thanks to them, the teacher in a simple playful way conveys to students the elementary concepts of color, hue, lightness and saturation. Despite the difficulties of our time, I would like to see colored art materials in the hands of students begin to live a special life at every lesson and in extracurricular activities, so that new paintings are born that express the feelings and thoughts of a small artist.

The underdevelopment of artistic vision, the inability to see the pictorial composition, perspective, color makes it difficult for the development of the child's artistic and creative abilities. Children from an early age perceive the rhythmic repetition of elements, symmetry in the arrangement of parts, so younger students can already be introduced to the concepts of "composition" and its categories. For example, in the process of performing decorative work, first graders learn to apply a line of symmetry, alternation and repetition of pattern elements (rhythm), use color harmony, they form a concept of the beauty of a pattern, a decorative pattern.

Creation compositions- one of the essential stages of the creative process. The word "composition" comes from the Latin "compositio", which translates as composition, connection, connection. Composition- this is the construction of a work of art, the selection, grouping and sequence of artistic techniques that form a harmonious integrity. The beginning of creating a composition is an idea that needs to be well thought out before starting to search. specific form. To create a successful composition, it is necessary to know its basic law, which is to build a harmonious unity of all components, the unity of form and content. The composition should be expressive, complete and complete. An important property of the composition is also its balance.

Each product has support points that ensure its stability and a center of gravity, which is conventionally called composition center. The compositional center can be an element or part of a work that stands out against the general background of the surrounding or adjacent parts, i.e. attracts the most attention. To ensure the balance of the composition, correctly position its compositional center. It does not always coincide with the geometric center of the work and is often shifted up or down, to the right or to the left, relative to the latter. However, it must be remembered that the central part of the work is perceived as visually active, so the compositional center should not be placed on the periphery.

Composition is a means of bringing all its elements into unity. The solution of this problem is carried out by various compositional techniques and means, such as proportion - it is a link that connects within the whole its constituent parts, the movement from one size to another, i.e. the ratio of parts to each other.

scale- proportionality, i.e. the correlation of the sizes, masses of objects and their details with the overall dimensions of the composition.

Contrast- a pronounced difference between two homogeneous properties. So, the contrast ratio of elements is spoken of when comparing large and small, dark and light, smooth and rough, etc.

Nuance- soft, weakly expressed difference. The word "nuance" itself means "deviation", "barely noticeable transition" (light pink → pink → dark pink).

Identity- similarity, building a composition on the complete similarity of elements.

Symmetry- regular arrangement of equal parts relative to each other.

Asymmetry- a means of composition in which the equality of parts and their arrangement is replaced by the visual balance of dissimilar parts.

Rhythm- varied repetition and alternation of forms or their properties on a plane or in space. It can be uniform, increasing, decreasing.

A special case of rhythm is meter, which organizes the alternation of equal-sized elements at regular intervals.

Dynamicscharacterizes the composition, in which development, change, a certain direction are necessarily present, i.e. movement (visual).

Statics- a state of rest, immobility in the entire structure of the composition.

The understanding of rhythm, harmony of color relationships, visual balance, shapes and colors, acquired by students in the process of decorative work, then finds application in the performance of various works in labor training lessons: in applications, in the manufacture of toys, etc. Aesthetic education harmonizes and develops all the spiritual abilities of a person, necessary in various areas of creativity. It is closely connected with moral education, since beauty acts as a kind of regulator of human relationships.

The task of the teacher, revealing the beauty of labor, is to bring students to the perception of beauty in the life around them, household items, behavior and attitudes of people towards each other. Without aesthetic education, without the formation of the ability for aesthetic creativity, it is impossible to solve one of the most important tasks - the task of the comprehensive and harmonious development of the individual.

3 Analysis of the content of training schoolchildren in the process of labor training in the educational field "Technology"

In the system of education in the educational field "Technology", labor activity is one of the most important factors in the development of the child: moral, mental, physical, aesthetic.

The subject of "Labor training" survives both attempts to "close" and attempts to connect it with mathematics or fine arts, is now called the buzzword "Technology". The new name does not fundamentally change the purpose of training, since labor lessons have always been meaningfully a technology of manual processing of materials.

And the meaning of educational activity in this subject remains the same - children are taught to work as adults work, that is, to personally realize the task, personally understand the possibility of its implementation, personally do everything that is needed to get the product, personally be responsible for the quality of their work. And the teacher only manages this activity, without imposing anything in the form of constant explanations. In the concept of the program - technology and creativity - two sides of productive activity that do not exist without each other.

The main objective of the program is to provide periodic and organizational conditions for the independent labor activity of the child, during which the student will learn to model the work of an adult: from understanding the task to the choice of ways to solve it and to its execution in material form, introducing elements of creativity into it.

For this, it is necessary to organize the educational labor activity of a small person as an adult, when everyone works. On this basis of the real, planned development of the independence of each child, it is necessary to introduce a solution to a system of creative, design and technological problems. This allows you to organize not only collective, but also individual creativity, combining it with technological literacy, which ensures the quality of the product and is the main moral indicator of any work.

Features of training in new programs consist, on the one hand, in attracting new materials. In addition to traditional paper and natural materials, polymer films, polystyrene and foam rubber, and rigid plastics are widely used. Products made of textile materials are supplemented with non-woven parts (for example, non-woven fabric), the "cocoon" technology involves the use of a thread impregnated with silicate glue. Therefore, such well-known operations as marking, cutting, assembly are modified.

On the other hand, the teaching methodology is acquiring more and more different features of cooperation. Now it is not enough for a child to set an educational task, it is necessary to ensure its serious awareness even in the first grade at all levels - a task for a lesson, a task for each of its stages, a task for mastering performing skills, a creative task.

Along with workshops where products are made, the program provides for lessons on socially useful labor, excursions, game lessons, and video lessons.

Consider the program material of the educational field "Technology", designed for grades 1, 2, 3, 4. It consists of a number of blocks. The cultural block is fundamental, uniting aesthetic concepts and the aesthetic context in which these programs are revealed.

Another block is technical and technological. In it, the fundamental creative ideas and concepts are realized in a specific subject content. Aesthetic permeates all stages of the lessons. Contemplation, perception of works of art, objects of cultural heritage of peoples, samples of future practical work is carried out, first of all, from the point of view of their aesthetics: color combinations, selection of materials, ratios of the whole and parts, rhythm, etc., and only then - manufacturing technology . Elements of technical knowledge and skills of students are obtained in the manufacture of products and the creation of models, layouts from various materials. Particular attention is paid to the formation of elements of a work culture among students, an integral part of which is graphic literacy. The program provides an approximate list of practical work. The main requirements for them are aesthetics, practical significance, accessibility.

The types of work proposed in the program have a specific focus: the decorative and applied heritage of the peoples of Russia, theatrical activities as a collective form of creativity. The methodological basis of the lessons is the organization of the most productive activities of children starting from the first grade.

By the end of fourth grade, children should be able to:

set a goal, find analogies;

determine the stages of manufacturing products, rational ways of processing materials;

compare intermediate and final results with samples, give an aesthetic assessment of the results of labor;

have an understanding of general aesthetic principles.

The activity of students initially has mainly an individual character. But the share of collective works, especially creative, generalizing ones, is gradually increasing.

The proposed version of the program is designed to conduct classes for 2 hours a week in each class, 68 hours a year. The implementation of the program requires the teacher to have a creative approach to the selection of didactic material, to activate students, to take into account their individual characteristics, cultural needs.

Concepts studied in the first grade:

1.Cultural: aesthetic, aesthetic ideal, aesthetic taste, measure, identity, harmony, ratio, bioplastics, bionics, biomechanics.

2.Technical and technological: products, material, tool, product detail, template, workpiece, part marking, adhesive bonding of parts, finishing, stitch, line.

Concepts studied in grade 2:

Technical and technological: construction, drawing, sketch, point, line, segment, drawing lines, length, width, pattern, pattern.

Concepts studied in grade 3:

Technical and technological: sketch, development, development, drawing lines.

Concepts studied in grade 4:

Technological process and operations.

CLASS

CULTURE BLOCK

Aesthetic concepts

aesthetic ideal.

2. Aesthetic taste: criteria-measure, harmony, ratio.

II. Fundamentals of composition.

Measure is the ratio of the part to the whole.

2. Identity - absolute equality, mirror reflection.

3. Harmony in life and art.

Parts ratio

Bioplastics, bionics, biomechanics

Aesthetic context

Aesthetic in reality and in art, aesthetic ideal in the art of different peoples. The aesthetic taste of the people and the person, expressed in a work of art. Detail as part of a work of art: painting, sculpture, architecture. The concept of ornament (geometric and floral). Repetition and inversion. The ratio of flat and volume in art: painting - sculpture, bas-relief, high relief.

Mosaic in stained glass panels, paintings, mosaic technique in painting.

The concept of plot. Imitation of natural phenomena in art and design.

TECHNICAL AND TECHNOLOGICAL UNIT

Knowledge, skills, skills

I. About materials.

Properties of paper and thin cardboard, fabrics: color, plasticity, elasticity, moisture permeability, revealing the aesthetic in a simple material.

II. About technology.

Marking by bending, free drawing, according to a template, stencil. Use of subject instruction. Dividing the workpiece into parts by tearing, tearing, along the fold line, cutting with scissors. Connection of parts: fixed, adhesive. Finishing (products, parts): - painting, appliqué - embroidery. Drying under pressure.

III. On the rules for the use of tools: scissors, pencil.

IV. Economic knowledge is about the economical use of material.

V. Organization of the workplace when working with different materials.

VI. About professions.

1. Explanation of how to perform technological operations.

2. Search for solutions to technical problems-exercises.

I. Exercise.

Development of hand and body plastics.

Paper tear at the fold.

Cutting paper, fabric with scissors.

Bonding of small and medium-sized parts, spot bonding.

Marking by bending, free drawing, according to a template, stencil.

Economic consumption of material during marking.

Application (from paper, natural material, fabric).

) flat, mosaic (torn, cut)

) semi-volumetric

) bulk

Plots: geometric, floral. Genre scenes with subsequent theatricalization.

Origalia.

Weaving, twisting cord.

Embroidery with a straight line and its variants (napkins, bookmarks, embroidery along the contour, etc.)

II CLASS

CULTURE BLOCK

Aesthetic concepts

I. Aesthetic in life and in art.

II. Fundamentals of composition.

III. From the history of the development of art.

Aesthetic context

Beautiful in nature, man, work.

TECHNICAL AND TECHNOLOGICAL UNIT

Knowledge, skills, skills

I. About materials.

Origin of paper. Vegetable fabrics (cotton and linen). Their property, structure.

II. About technology.

Marking by ruler, square, compass based on a sketch. Connection of details - glue, thread. Finishing (parts and products) with hand stitches.

IV. Economic knowledge - about the economical, rational marking of several parts with the help of control and measuring tools.

V. Independent organization of the workplace when working with different materials.

VI. About professions.

Development of technical thinking

Substantiation and selection of rational technological operations from a number of known ones.

Solution of technical and technological problems:

A) to improve the manufacturing technology of the product;

B) for the development of the eye.

EXAMPLE TYPES OF PRACTICAL WORKS

I. Exercise.

Economic markup of several parts.

Making sketches of future products.

II. Types of jobs.

Appliqué with intricate details

Toys: soft toys, silhouette figures.

Embroidery options straight stitch, oblique stitch.

Volumetric figurines made of natural materials.

III CLASS

CULTURE BLOCK

Aesthetic concepts

I. Aesthetic in life and in art.

II. Fundamentals of composition.

Toy.

III. From the history of the development of art.

Aesthetic context

1. Nationality, utilitarian and aesthetic in a toy. Modern meaning toys.

TECHNICAL AND TECHNOLOGICAL UNIT

Knowledge, skills, skills

I. About materials.

Material properties that students work with.

Origin and properties of woolen and silk fabrics.

II. About technology.

Layout of three-dimensional geometric shapes (sweeps).

Connecting parts.

Finishing (products from details) with lace, braid, buttons, etc.

III. About the rules for the use of tools.

IV. About professions and crafts.

Development of technical thinking

1. Development of technical and technological tasks for the development of spatial imagination.

EXAMPLE TYPES OF PRACTICAL WORKS

I. Types of work.

Bulk products.

Cross stitch embroidery with options.

IV CLASS

CULTURE BLOCK

Aesthetic concepts

I. Aesthetic in life and in art.

II. Fundamentals of composition.

III. From the history of the development of art.

Aesthetic context

Mood in arts and crafts.

Correlation of all parts in the product.

TECHNICAL AND TECHNOLOGICAL UNIT

Knowledge, skills, skills

I. About materials.

General idea of ​​the origin of chemical materials, their types and properties.

II. About technology.

Knowledge of features technological process depending on the material used

III. Rules of work with all tools used in practical work.

Development of technical thinking

1. The ability to make suggestions for improving the technology and design of the product.

EXAMPLE TYPES OF PRACTICAL WORKS

I. Types of work.

Embroidery loop stitch and its variants.

Inclusion in sample programs according to the technology of the section "Artistic processing of materials" is designed to promote the involvement of students in classes in arts and crafts, their creative development. At the same time, it is possible to take into account regional and local features in the technologies for manufacturing products, the presence of traditional folk crafts of various directions.

A relatively simple and inexpensive material and technical base, ample opportunities for learning, versatile education, development of the child's personality and the teacher's disclosure of his creative potential, appeal to historical roots - all this indicates the importance of studying this section. Classes in arts and crafts are considered as part of a general integrated system for students to master the educational field “Technology. Education in arts and crafts in its various directions and their combinations takes place on the basis of:

the section "Artistic processing of materials" in grades 1-4;

optional programs.

The teacher should not forget that one of his main tasks is to develop the aesthetic and intellectual potential of students, to teach them creativity, independence, the ability to evaluate and implement their ideas, projects, and also to teach the areas of knowledge of art necessary for every person - composition, ornamentation, color science.

Programs in the section "Artistic processing of materials" contain the following main topics: the basics of materials science, safety precautions, the technology of processing specific materials, the basics of a particular type of decorative and applied art, color and combination of colors, ornament, compositional design of the product, finishing materials and work, project. The depth of study of each of them depends, first of all, on the number of teaching hours and the age of the students.

The project is a mandatory section of the program for any kind of arts and crafts. Its implementation is associated with the collection and analysis of the necessary information, determining the nature of the product and taking into account national characteristics and traditions, the requirements of aesthetics and design, the development of its manufacturing technology and its implementation at the highest possible level.

All this is important for the teacher in order to correctly model the process of formation of artistic and creative skills and abilities within the framework of the "Artistic processing of materials" section.

.1 Didactic foundations for the formation of artistic and creative skills and abilities

According to the well-known position of didactics, successful learning is impossible without a healthy microclimate in the classroom.

When preparing for a lesson, the teacher must think through everything to the smallest detail: what and how he will do in the lesson, while the students are working.

At the beginning of each lesson, information necessary for further practical activities is necessarily reported. The story, conversation, explanation take no more than 15-20% of the study time. Verified, reliable facts are reported, the principles of scientific character must be strictly observed.

The choice of a product for practical work depends on the level of training of students, their age characteristics. It is necessary to observe the principle "from simple to complex". Labor program in primary school It is constructed in such a way that the continuity necessary for the study of more complex material is provided.

The task for children should be feasible: a difficult task causes them self-doubt, and in the end - unwillingness to work, aversion to work. Too easy tasks teach them to work without tension, effort, and as a result, they do not get used to overcoming difficulties.

The lesson will be successful only if the children are interested, passionate about work.

The main thing in working with children is the absence of monotony, therefore, in the classroom, different kinds crafts.

When teaching children the techniques of beading, a large role should be given to mastering artistic and creative skills and techniques, developing artistic taste, and a creative attitude to the work being done. It is necessary that children learn to bring elements of fantasy and diversity into the work. All these requirements determine the approach and methodology of teaching in labor lessons.

Understanding learning only as the management of the processes of the sequence of tasks will be incorrect, since this will only lead to imitation of the actions of the leader.

It is very important for the successful formation of artistic and creative skills and abilities to combine different teaching methods: verbal, visual, practical. When explaining a new topic, along with information from the history, features and scope of some types of arts and crafts, the teacher also talks about the purpose of the products being performed.

During the conversation, the attention of the children is activated, it enlivens the classes. In a conversation, the teacher finds out the degree of preparedness of children for work, as well as the degree of knowledge and assimilation of the material.

Also already in introductory conversation it is necessary to acquaint children with a variety of product options, provide children with the opportunity to touch each of them with their hands, express a sense of admiration for its beauty and a desire to learn craftsmanship. The conversation arouses students' interest in the lesson. In the final conversation, they consolidate the knowledge gained in the lesson.

The general impression of the conversation will be strengthened by visual teaching methods - a demonstration of various diagrams, tables, samples of arts and crafts, video materials. They help to acquaint students with materials and labor processes with folk crafts.

Artistic and creative skills cannot be formed without using practical teaching methods. Among the practical teaching methods, exercises have received the greatest use.

Exercise- this is a purposeful repetition of actions using the correct methods of work, correcting mistakes made and striving to achieve best result. The point of exercise is repetition. At the same time, a labor action becomes an exercise when it is used to solve a specific pedagogical task: to teach a child a certain technique or to form some skill or skill.

Thus, success in the formation of artistic and creative skills and abilities depends not only on the number of repetitions, but also on the selection of exercises with a gradual transition from easy to more complex ones. The repetition of exercises serves as the basis for the transition of skills into solid skills.

The types of exercises depend on the nature of the work performed. For example, the teacher offers young children to practice stringing beads on a thread, fixing a large bead at the end of the thread.

A significant place in the classroom is occupied by briefings, they play an important role in the educational process. For example, when organizing the practical work of students in the manufacture of a product, it is necessary to explain and show them what the product should be, explain the order of execution and show the methods of work, explain and show the methods of monitoring the work and its results.

In the course of the work itself, students need to help them with advice, additionally show the methods of work. At the end of the practical work, students need to sum up its results, point out the mistakes made in the work.

The form of briefings can be oral, written, graphic and written-graphic.

Oral instruction - This is a description by the teacher of the order and methods of work.

form written briefing there may be written instructions for work.

Graphic - posters reflecting a series of drawings showing the methods of work and their sequence.

form written and graphic instruction are technological maps.

By their nature, briefings are divided into introductory, current and final or final.

Induction training - aimed at organizing the practical work of students. The purpose of the introductory briefing is to reveal to students the content of labor activity in this upcoming practical work. It includes an explanation of the upcoming work, showing and explaining the methods of monitoring the progress and results of the work.

Current briefing is carried out during the implementation of practical work by students, which takes up the main time of the lesson. Its task is the direct direction and correction of students' activities in completing the task. Current instruction is carried out on the basis of observations and control of the teacher over the actions of students. Along the way, the teacher provides individual assistance to students, points out errors, helps to find their causes, suggests the order of work, recalls the safety requirements, suggests some ideas. Even if children each work on their own product and implement individual ideas, it makes sense to support their creative communication and exchange of ideas during practical work.

Final briefing conducted at the end of the practical work of students. Its purpose is to sum up the work, to analyze it, to reveal the reasons for the mistakes made, to explain how to eliminate them.

Summing up the work, its evaluation is a very important stage of the lesson. At this stage, children's attention is drawn to the results obtained, a general assessment of achievements, repetition and generalization of what was learned in the lesson, the formation of the ability to consider and evaluate each other's works, the development of interest and attentive attitude to the work of others, the formation of friendly relations in the team.

Like others structural elements lesson, debriefing requires the most creative approach. More often than other methods, one can use the organization of an exhibition of students' works with their collective viewing and discussion.

Of great importance for deepening the knowledge and expanding the horizons of students are visits to exhibitions and museums, where children can get acquainted with various types of folk arts and crafts.

When considering products, it is important to pay attention to the fact that these are monuments of folk culture, the culture of your people.

The same careful attitude must be formed among schoolchildren in the process of designing exhibitions of their work, because many of their products are a continuation of folk traditions in applied art.

Thus, training in labor training lessons can be different, used in combination. Of great importance for their correct choice is a good knowledge of the program and the requirements that can be presented to schoolchildren.

2.3 Methodology and results of experimental work with students

Methods and techniques that help younger students in mastering the material depend on the characteristics of each group, so the teacher must constantly improve in teaching methods.

The task of a creative nature in the lessons of labor training

A special place in the lessons of labor training is occupied by the practical work of students, as a result of which a product of a certain functional purpose is created. The process of making any product requires active actions from the child. Activity can be judged, first of all, by its external signs - the student marks, cuts, sews, glues, sculpts, etc., that is, he performs certain labor actions. At the same time, it is difficult to say how active the child is internally. It is the predominance of the reproductive activity of younger schoolchildren that should be considered one of the main shortcomings of the modern labor lesson.

Students in most cases are guided by the creation of a copy of the product demonstrated by the teacher as a sample. The realization of the creative abilities of students, as a rule, is possible only at the stage of product design, and it should be noted that special attention is not paid to the formation of the ability to competently design products, taking into account the functional purpose. Each child designs the product arbitrarily, in accordance with his own understanding of expediency and beauty.

Life itself leads us to the conviction that a transition to some new qualitative level of teaching is necessary. The main reason preventing the teacher to decide main task, consists in the fact that we teach children to do things in labor lessons, but we do not teach them to create a world of things, a world in which we are comfortable, in which we live with our friends, loved ones, through which we express ourselves.

Unfortunately, today's children are largely influenced by "thingism", which is always associated with insufficient aesthetic development. In this regard, it is appropriate to recall the words of the outstanding Russian art critic of the 19th century. V.V. Stasova: “There is still an abyss of people who imagine that you need to be elegant only in museums, in paintings, statues, in huge cathedrals, and finally, in everything exceptional, special, and as for the rest, you can crack down, no matter what - say, the case is empty and absurd. What could be more unfortunate and more limited than such concepts! No, real, wholesome, healthy art really exists only where the need for elegant norms, for a constant artistic appearance has already extended to all the hundreds of thousands of things that surround our daily life ... ".

In the meantime, there is a tradition in accordance with which each craft made by a child is made by him as a single object, in essence, isolated from other objects of the material environment. Meanwhile, in reality, this never happens: not a single thing that we use exists and does not function on its own, it is connected with the situation, with other things and objects among which it is located, as well as with needs, physiological and psychological features the person who uses it.

All these things, in turn, give rise to a very specific psychological climate, one way or another affecting the person who created them. Ideally under environment, with which the object must be in harmony, is understood not only objects, but also the whole set of specific conditions of this environment: its ordinary or festive type, the characteristics of the character and lifestyle of people living in this environment, etc. Of course, all this is quite complicated. The education of such a person who is able to organize complete harmony is, apparently, one of the goals of the great and serious work of the school.

If we try to formulate more precisely the task that the modern teacher has to solve, then it obviously consists in the formation in children of a special type of thinking, which can be called "designer". It is guided by it as a complex consisting of a special attitude of consciousness, value judgments and ways of creative activity that a person can form in himself an aesthetic attitude to the world of things.

This work should begin as early as possible and be carried out in certain stages. One of the tasks of the first stage will be the formation in children of an appropriate attitude of consciousness with which they approach the work of making individual household items. How is this attitude formed? It is well known that certain knowledge is the basis of any attitude of consciousness. Guided by them, a person begins to show interest in completely certain aspects of reality, selectively reacts to it. In elementary grades, it is possible and necessary to give an idea of ​​the basic principles of creating beautiful things.

I would like to draw the teacher's attention to some provisions developed by a special science - technical aesthetics. They can be taken as a basis in the development of lessons. Working on their handicrafts, students will each time comprehend the usefulness and beauty, expressiveness of things. A really beautiful thing is an appropriate thing, suitable for the situation. When doing any thing, specific requirements must be observed. Let's recall some of them:

All parts of the object must be proportionate, i.e. proportional to each other, and the object as a whole must also be proportional to the person who will use it. Very useful for understanding this requirement are tasks in which, when designing an object, students are guided, for example, by the size of a certain toy: they make a car or tractor, glue a garage, trailer, etc. on it. competently as a whole to design a harmonious form. For example, when students make a flower vase out of plasticine, both of these requirements seem to help each other to manifest themselves better. The purpose of the vase requires that it be stable, not tip over with flowers. This dictates a certain shape of the product and certain proportions: the vase should be heavier at the bottom.

Any thing from any material cannot be made without prejudice to practical use. Such material qualities as hardness or softness, color, surface smoothness or roughness, etc., should correspond to the subject. In any artistic product, this correspondence should be expressed most clearly in order to make the strongest impression. Good taste loves authentic. Thus, dishes painted "under the tree" lose their artistic merit, since the qualities of these two materials are very different. It is very important that students learn that the artistry of a thing is determined not by the monetary value of the material from which they are made, but by the extent to which the master managed to identify and emphasize all the advantages of this material.

The beauty of a thing lies in the certainty of its character, in the artistic expressiveness of the form and in its complete consistency with the purpose of the thing itself. Pupils “construct”, for example, kitchen potholders in the shape of butterflies, maple leaves, animals, etc., although the most suitable, harmonious, and, therefore, artistic for these products will be just the usual simple shapes: a circle, a square, an oval. It is advisable to draw the attention of children to this constructive requirement.

Color plays an important role in products. It must also match the purpose of the item. Color can make a thing cheerful, joyful, strict, solemn or rude, flashy, fake. Especially important is not even a single color in itself, but a combination of colors - both inside the product, and the combination of the color of the product with the color scheme of its environment. Working with color in the design of products is carried out in the classroom all the time. In papier-mâché products, conditional tones are most often appropriate, it is only important that the child learns to use color as a means of artistic expression.

Very often, at a labor lesson, the teacher offers to “decorate” an object if there is extra time left after its manufacture, while it is not discussed whether decoration is needed at all for the made thing, and what it will give it. Thus, we affirm the disciples in the false thought that a decorated object is better than an undecorated one.

In the future, they are often guided by this idea in those cases when they need to formalize their life, themselves, and also proceed from a similar conviction in assessing the surrounding objective world. Therefore, in the lessons of labor in the manufacture of household items, it is so important to formulate in children the correct attitude towards their decoration. It is best if the student thinks about this before making the item.

Many household items as decorations have just the necessary structural details: for example, a braid in a kitchen potholder, which connects all the layers of this product and at the same time emphasizes its shape, and also gives an additional mood to things with its color.

Of course, all the listed requirements for the decoration of products are quite general character, in a concrete thing, all this is manifested in the details inherent only to it.

From lesson to lesson, students receive certain information, acquire the appropriate range of knowledge, and from lesson to lesson, this information is comprehended in independent creative developments. The product is not created by copying the sample, but is developed by the student independently.

At the first stages, the share of independence may be small, since special attention will have to be paid to learning how to work, but creativity will be present in the classroom as well. First graders learn how to make a paper product using folding and cutting techniques; using them, you can, for example, beautifully decorate a dining table with paper napkins. The teacher not only shows the first-graders these convenient and interesting table decorating techniques, not only teaches them to children, but also draws the students' attention to the "attachment" of each of the methods to a specific life situation.

Another example: making a Christmas decoration (star) from a square of paper. The relationship between beauty and utility in such a product looks different. Its main purpose is to decorate, which is the “usefulness” of this thing, however, all the other requirements mentioned above also appear here.

From the above examples, we see that in working with younger students, the teacher does not focus every time on the comprehension and observance of all design requirements.

Educational creative activity is considered by us, first of all, as an activity that contributes to the development of a whole range of qualities of a creative person: mental activity, quick learner, ingenuity and ingenuity, the desire to acquire knowledge necessary to perform specific practical work, independence in choosing and solving a problem, diligence , the ability to see the common, the main thing in different and different in similar phenomena, etc.

As a result of such an extensive and effective development qualities necessary for creative activity should be a self-created (creative) product: a model, a toy, and the like. Creativity, individuality, art are manifested at least in a minimal deviation from the model.

However, in order to create a specific product, in addition to general education, general professional knowledge is needed, including about the methods of activity: the rules for working with tools, the technology for manufacturing a product, the rules for creating artistic compositions, and most importantly, mastering them at a high level. And since schoolchildren (even of younger age) have their own individual interests, abilities, inclinations, it is necessary to include the most diverse types of labor in the educational process, encouraging manifestations of creativity. Such a variety of work, multilateral testing of one's strengths makes it possible to identify the individual abilities of each and provide conditions for development, to make the learning process interesting for children.

Only by providing students with a certain minimum of general professional knowledge can we talk about the independent creation of specific and diverse, original, creative products by them, we can talk about teaching schoolchildren creativity.

To awaken the creativity inherent in every child, to teach to work, to help understand and find oneself, to take the first steps in creativity for a joyful and happy life - this is what we strive to the best of our strength and abilities, organizing our lessons. Of course, this problem cannot be solved by one teacher alone. But if each of us set ourselves such a goal and strives for it, our children will ultimately win.

LESSON PLAN #1

Lesson topic: Making a soft toy.

Type of lesson:Independent work of students under the guidance of a teacher.

The purpose of the lesson:

Educational:the formation of skills in working with fabric, familiarizing students with the history of the emergence of souvenir products, applying knowledge of the technique of working with fabric.

Educational:the formation of personality harmonics, the implementation of aesthetic and labor education, the development of accuracy, perseverance, self-control.

Developing:development of independence, logical and creative thinking, emotional and volitional qualities, cognitive and artistic and creative abilities.

Equipment:short pile fur, pieces of felt or drape, colored buttons, needle and thread, scissors, cotton wool.

During the classes:

I. Organizing time.

1.Establishment of psychological contact.

2.Greetings.

.Check readiness for the lesson. Officer's report.

II. The topic of the lesson.

The message of the purpose of the lesson is to master the techniques of cutting and sewing a soft toy.

III.

What is an ornament? (repeating pattern).

what is the ornament for? (to decorate the product).

what seams do you know? (decorative and fastening).

name the types of seams known to you. (Forward a needle, back a needle, stalked, tambour, attached).

which of them perform only a decorative function? (stalked, tambour).

IV. Presentation of new material and introductory briefing.

A wonderful spring holiday is approaching - March 8th. It is celebrated all over the world. On this day, it is customary to give gifts to mothers, grandmothers, sisters. But the most expensive gift is the one made with your own hands. After all, when you make something, you invest a piece of your talent, your soul and love for the person to whom this gift is intended. And today we will make a soft toy by March 8th.

To do this, you need to take the patterns prepared in advance, attach them to the fabric and circle with colored chalk. Now, with dotted lines, we will apply seam allowances and cut out the details of the future toy.

Sew a head from two parts, turn the shape inside out and stuff it tightly with cotton wool.

Sew the ears, matching the fur pieces, and attach them to the head.

Cut out the muzzle, then pull the part with a rare seam “over the edge” and stuff it so that it looks like a large bean shape. Sew the muzzle to the head. Cut out the eyelets and sew them to the head. Make eyes from matching buttons or beads. Make a nose from a large button or a piece of black felt, a mouth can be embroidered or made from a piece of red fabric.

Cut out the body part from the fur. Then bend the part along the dotted lines so that the marked points A, A1 and A2 are aligned and sew the legs and back. Fill with cotton wool only the upper part of the body (up to the legs), cut out the feet from thick felt and sew the toys to the legs.

Cut out two parts of the hands from the fur. Bend each piece with the fur inward along the dotted line, sew each piece, leaving a hole at the base of the arm. Turn the forms inside out and sew them to the body without stuffing them with cotton.

Cut out palms from felt and sew them to the hands.

The tail is made from a piece of felt.

v.

1.Doing work by students.

2.Individual work with students, bypassing workplaces in order to identify errors and suggestions possible ways their fixes.

VI.

What kind of seam can be used to tighten the parts of the toy?

(“a rare seam “over the edge”).

what is a contour? (shape outline).

VII. Final briefing.

1.Review and collective analysis of completed work.

2.Grading.

.Summarizing.

.Homework: make a bow tie for a monkey.

.Office cleaning.

LESSON OUTLINE #2

Lesson topic: Acquaintance with beads.

Beaded appliqué. Landscape application.

Type of lesson:

Lesson Objectives:

Educational:to acquaint students with the history of the emergence of beads, teach them to independently evaluate the results of work, teach them how to make appliqués from beads.

Educational:to cultivate an aesthetic attitude to the subject of labor, accuracy, perseverance, self-control.

Developing:development of logical, creative thinking, imagination, aesthetic taste, sensory skills, motor skills, artistic and creative skills.

Equipment:beads of different colors, PVA glue, a small picture depicting a landscape, a piece of fleecy fabric, appliqué samples.

During the classes:

I.Organizing time.

Establishment of psychological contact;

greetings;

test readiness for the lesson.

II.Lesson topic message

The objectives of the lesson are to master the techniques of beaded appliqué.

III.Repetition of the material covered.

What is an application? (attaching; cutting out various shapes and fixing on other material).

What types of applications do you already know? (from paper, from fabric, from natural materials).

What are the primary colors? Name them. (A color that cannot be obtained by mixing other colors - blue, red, yellow).

What is a landscape? (image of nature).

IV.Presentation of new material and introductory briefing.

The word "beads" comes from the Arabic "busra" - a small drop of glass. Indeed, a glass bead with a through hole is called a bead. Glass beads were already known in ancient times. Beads and seed beads served as a trade item for Egypt. Following Egypt, beads appeared in Syria, Japan, and China.

In Europe, beads and seed beads were mainly supplied by the glass factories of Alexandria. Alexandrian beads later became the subject of imitation for Venice. Production secrets were strictly kept. From Venice in 1275, the export of raw glass, raw materials, even broken dishes was banned. The names of skilled glaziers become famous. After the discovery of America by Christopher Columbus, a bead boom began, the peoples of North America became active buyers of beads and beads. A large sale of beads was also in European countries.

In some cities, even bead fairs were held. In the second half of the 14th century, a bead-making machine was depicted in Bohemia. The peoples of Russia learned beads through trade with Byzantium.

In Russia, in explanatory dictionaries, the word "beads" meant pearls. And only in the 17th century glass beads began to be called beads. The name "bugle" appeared even later, in the 18th century. Until that time, it was called odekuy.

In the middle of the 18th century, M.V. Lomonosov opened the first bead factory.

Beads are matte, transparent, shiny, with a metallic coating, covered with a layer of mother-of-pearl.

Today we will work with this wonderful material.

Look closely at your landscapes. What part of the composition of the picture attracts your attention? Why? (The biggest tree, the brightest foliage). This part is called the composition center.

What colors dominate in your paintings?

To work, you need beads of these shades.

Pour the beads little by little on a specially prepared fleecy fabric. Why do you think this is the fabric? (The villi hold the beads, do not allow them to scatter).

Now let's get started with the application:

We coat with glue a section of the picture of a certain color (you should not cover the entire surface with glue, because the glue dries quickly). Now sprinkle the part of the picture covered with glue. Then glue the next section of a different color with glue and sprinkle with beads that match the color.

v.Independent work of students and current instruction.

Children do the work, the teacher makes a targeted tour, conducts individual work with students.

VI.Consolidation of new material.

What does the word bead mean?

(Translated from Arabic "drop of glass")

Why do you need a piece of fleecy fabric when working with beads?

(So ​​that the beads do not crumble on the table)

How to choose beads for a landscape appliqué?

(To match the image)

VII.Final briefing.

1.Organization of an exhibition of completed works.

2.Work analysis.

.Grading.

.Summarizing.

.Homework: prepare for the next lesson a sheet of velvet paper, a needle, threads to match the paper, beads. Pick up or come up with a picture for a greeting card.

.Office cleaning.

LESSON PLAN No. 3

Topic: The history of the emergence of beaded jewelry. The simplest methods of naming beads.

Type of lesson:lesson-conversation with elements of independent work.

The purpose of the lesson:

educational: formation of the concepts of teaching new methods of stringing beads, learning to independently evaluate the results of work.

Educational: artistic taste, perseverance, attentiveness of artistic and creative skills and abilities.

Equipment and fixture:

beads of different colors, thin strong thread, thin needle, wax, scissors.

Lesson progress:

I. organizational stage.

II. Messages of the topic and objectives of the lesson (the topic is written on the board).

Purpose: to learn the simplest methods of stringing beads.

III. Repetition of the material covered.

Frontal survey method.

1.What is a composition?

2.What is an ornament? (rhythmically constructed pattern, composed of plant, picturesque, geometric figures-elements).

.What materials are needed when working with beads? (needle, thread, wax).

.What should be done so that the thread does not twist? (rub with a piece of wax).

IV. Presentation of new material.

As you already know, beads have a long history. Clothing adorned with beads was found by archaeologists during excavations of the monuments of Ancient Egypt, in India, in the Middle and Far East, Africa, N. America, s. America, Asia, Europe. Beaded jewelry was in many cases an integral part of not only women's, but also men's costumes.

Beaded jewelry was made by hand or on a special machine, collecting beads on a harsh thread, horsehair. In different areas, beaded ornaments traditional in form, color, manufacturing techniques developed.

After that, the teacher informs that for the work you need to have beads, beads, needles, a piece of wax and a pattern to be performed.

Beads are placed on a separate saucer. The thickness of the needle should correspond to the hole in the bead. To prevent the thread from twisting, it must be waxed - rubbed with a piece of wax. Patterns can be taken from embroidery magazines or invented by yourself. The selected pattern is translated into a working scheme: the beads are depicted in circles on paper in a cage and show the sequence of their threading.

v. current instruction.

Practical work: the implementation of the simplest chain.

Lowering begins with a set of five beads of the same color, for example, white, after which both ends of the thread are aligned and threaded towards each other through a bead of another, for example, red, the threads are tightened (6)

Then two white beads are put on each end of it (7, 8, 9, 10). Then the ends are threaded through the eleventh white bead towards each other. So continue to string the beads until the chain reaches the desired length. Then the ends of the thread are passed through the fifth bead and secured with a strong knot. The chain closes with a ring. It can be worn around the neck, like beads, as a bracelet.

VI. Consolidation of new material.

1.History of beads?

2.Did you make beaded jewelry by hand or on ...? (special machine).

.Why is wax needed when working with beads?

(so that the thread does not twist).

4.If there is no needle, what should be done with the thread?

(moisten the end of it in glue).

VII. Final briefing.

1.Summing up the results of work with grading.

2.Appointment of attendants.

.Homework: bring a needle, thread, green, black, white beads.

2.4 Conditions for the successful formation of artistic and creative skills among schoolchildren in the process of making souvenirs and sewing soft toys

Creativity cannot be taught. It does not obey any rules and regulations, it requires a special state, which directly depends on the individuality of the child. But this does not mean at all that the teacher cannot create such conditions and situations in the classroom that contribute to the education and development of children's creative activity. To create such situations in the classroom, when each student seeks to realize his/her idea as expressively as possible, various pedagogical means are used: methodological, organizational, and gaming. In order for the child to learn in the process of creativity, such situations should include either tasks set by the teacher and aimed at mastering new ways of artistic and labor activity, or tasks set by the student himself in his plan. No less important is the emotional state of the child, and the general psychological climate in the classroom.

What conditions need to be created for the optimal development of the artistic and creative skills and abilities of the child as a whole?

J. Smith considers the creation of the following conditions to be the main one in teaching creativity:

2.Physical conditions, i.e. the availability of materials for creativity and the ability to act with them at any moment;

3.Socio-economic conditions, i.e. the creation by adults of a child of a sense of external security, when he knows that his creative manifestations will not receive a negative assessment of adults;

.Psychological conditions, the essence of which lies in the fact that the child develops a sense of inner security, looseness and freedom due to the support of adults for his creative endeavors.

But the role of the teacher or parents in this process is not limited to the creation of conditions. It also consists in actively helping the child in the development of his creative abilities. In this respect, useful recommendations were developed by the American psychologist J. Gauen. Here are the most interesting of them:

1.Create a cozy and safe psychological base for the child in his search, to which he could return if he was frightened by his own discoveries.

2.Support your child's creativity and empathize with failure. Avoid disapproving of the child's creative ideas.

.Be tolerant of scary ideas and respect your child's curiosity, questions, and ideas. Try to answer all questions, even if they seem wild and ridiculous. Explain that many of his questions cannot always be answered unambiguously. It takes time and patience on his part. The child must learn to live in intellectual tension without rejecting the ideas that create it.

.Give the child the opportunity to be alone and let him, if he so desires, do his own thing. Too much parenting can hinder creativity. The desire and goals of children belong to them, and the help of an adult can sometimes be perceived as a "violation of the boundaries" of the individual.

.Help your child learn to build his value system, not necessarily based on his own views, so that he can respect himself and his ideas, along with other ideas and their bearers. Thus, he, in turn, will himself be appreciated by others.

.Help your child meet basic human needs (feelings of security, love, respect for self and others), as a person whose energy is constrained by basic needs is less able to reach the heights of self-expression.

.Show sympathy for his first clumsy attempts to express his ideas with glories and thus make them understandable to others.

.Find words of support for your child's new creative beginnings, avoid criticizing the first experiments - no matter how unsuccessful they are. Treat them with warmth: the child seeks to create not only for himself, but also for those he loves.

.Help your child to become a “smart adventurer”, sometimes relying on risk and intuition for knowledge: this is most likely to lead to a real discovery.

.Maintain a creative environment by helping your child avoid social disapproval, reduce social friction, and cope with negative peer reactions.

The more opportunities you provide for constructive creativity, the tighter the valves of destructive behavior close. A child deprived of a positive creative outlet can direct his creative energy in a completely undesirable direction.

So, it is necessary to create a certain psychological atmosphere in which the child could manifest and develop his creative abilities, at the same time, for the successful formation of artistic and creative skills and abilities, it is also necessary to properly organize the creative activity of the child. This includes the organization of the workplace, and familiarization with the materials and tools that the child will use.

Conclusion

The formation of a worldview orientation of aesthetic knowledge and practical skills in the younger generation to create according to the laws of beauty, a humanistic attitude to the surrounding natural and “man-made” world, to improve it technologically, aesthetically is the pedagogical task of modern society.

Mastering artistic and creative skills and abilities contributes to the formation of artistic culture, as an integral part of material and spiritual culture, artistic and creative activity, helps them in mastering the figurative language of arts and crafts.

Introducing a child to art and work in the learning process should be one of the important goals of comprehending the laws of craftsmanship, which ensures the aesthetic perfection of creation, understanding these laws develops the aesthetic consciousness of the individual, helps to penetrate more deeply into the secrets of the structure of art products, consciously enjoy them and at the same time makes you apply measures of this skill to their own activity, forming the need for aesthetic performance of the task.

Probably, it can be said, without being afraid of reproaches of excesses, that labor education is the main thing in the formation of personality.

The formation of artistic and creative skills in students is the result of the teacher's activity. In the process of their formation, the lost spiritual values ​​are revived.

Lessons of labor training, constructed correctly methodically, are special lessons. On them, as on no other, in the Vila of the specifics of the subject, the teacher is close to the student. He seeks any kind of work - embroidery, knitting, weaving, etc. - make it as individual as possible.

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.28. Konysheva N.M. "Secrets of the Masters: A Manual of Artistic Work for elementary school"- M., 1997

.29. Kochetov A.I. "Culture of Pedagogical Research" - Minsk, 1996

.30. Kudina G.N., Melik-Pashaev A.A., Novlyanskaya Z.N. "How to develop artistic perception in schoolchildren" - M., 1988

.1. Kuznetsov V.P. "Methodology of labor training with a workshop" - M., 1998

.2.Leontiev A.N. "Activity. Consciousness. Personality "- M., 1975

UDC 37.036.5: 373.5

A. V. Skvortsov, T. S. Komissarova

Professional creative skills of a subject teacher as a condition for the formation of students' creative abilities

The article discusses the professional creative skills of a subject teacher, which are an indicator of his readiness for professional creative activity in the formation of students' creative abilities.

The article deals with the creative skills of a teacher, which are indicative of its readiness for creative professional activity on the formation of creative abilities of pupils.

Key words: professional creative skills, professional creative activity, problem tasks, problem situations, creative abilities, readiness for professional creative activity.

Key words: professional creative skills, professional creative activity, problem tasks, problem situations, creative abilities, readiness for creative professional activity.

In modern Russian society, a significant role is given to education, new requirements are put forward for the quality of education and professional training of graduates. Today the system higher education is aimed at the formation of professional creative activity of a person who is able to improve in his professional and social activities. The modern educational strategy involves the entry of the student into the learning process, which will provide him with the opportunity to freely choose an educational route that meets his personal interests, individual needs and cognitive abilities.

Changes in the education system are clearly visible in such state documents as the federal law"On education in Russian Federation» (2016), federal state standards higher education (FGOS VPO of the third generation and GEF HE 3+), the Concept of the Federal Target Program for the Development of Education for 2011-2015" and "The State Program of the Russian Federation "Development of Education" for 2013-2020". So, in the Federal State Educational Standard HE 3+ 03/44/01 in the direction of "Pedagogical

© Skvortsov A. V., Komissarova T. S., 2016

education” (bachelor’s level), it is noted that a graduate who has mastered the bachelor’s program must have professional competencies in the field of pedagogical activity, including the ability to form the creative abilities of students (PC-7) .

The problem of the development of professional creativity of students is due to several aspects. Modern education, first of all, should contribute to the development of an independent, creative personality of the student, which, in turn, will ensure the success of his educational, cognitive, search creative activity. However, according to research in the field of educational psychology, one of the negative trends in modern higher education is the predominance of traditional verbal-logical education over synthetic figurative, problematic, creative.

The specificity of pedagogical activity is determined by the need to reproduce the accumulated social and knowledge experience in the personality of the student. The activity of the teacher is a meta-activity, since it is aimed at organizing and managing the activities of others. The effectiveness of the teacher's professional activity is determined primarily by the success of the students' assimilation of knowledge.

With the traditional type of learning, the motivation for learning and the organization of the productive activity of students is more external (rhetorical), and the qualitative assimilation of the material means the memorization and reproduction by students of a certain amount of ready-made knowledge.

However, this is not enough. To date, certification of school graduates in our country is carried out through a unified state exam (USE), which includes types test tasks as a basic level, as well as advanced and high levels of complexity. Only a graduate who has creative, critical, logical thinking, possesses a system of integrative knowledge and skills, and is also ready to apply this system of knowledge in practice, often in a new situation for himself, can complete such tasks.

Obviously, only a teacher who owns professional creativity, who is a creatively developed personality, can form creative skills in students. Such a teacher should not only have knowledge and skills within his subject, but also have a formed system of professional creative skills.

These trends in the development of the system of higher education turn us to the problem of forming the readiness of bachelors for creativity in the professional activity of a teacher. Various aspects of the formation of the readiness of graduates of pedagogical universities for professional activities are considered in the works of scientists. At the same time, the main part of the available scientific works in this direction concerns the formation of readiness for professional creative activity of teachers. primary school. Other researchers consider the formation of a teacher's professional creative activity only within the framework of extracurricular work. Thus, the analysis of the literature on the problem of forming the professional readiness of bachelors, as well as the educational practice of higher education, allows us to state that there are not enough works regarding the development of readiness for creative professional activity of a bachelor of education, and there are tasks in this problem field that require research.

Along with this, it should be noted that in studies of the problem of creativity in professional pedagogical activity, it has been established that one of its components is a set of skills to solve non-standard tasks that are formed in the process of problem-based learning. Therefore, it is necessary to develop a system of methods for the formation of professional creative skills of the future teacher in the process of his education at the university, since it is at this stage that his readiness for the upcoming professional creative activity is formed.

In fact, all pedagogical activity is a combination of reproductive and creative components, since at the beginning there is always the application of knowledge and skills in a familiar situation, i.e., reproduction and consolidation of the known. Then, after reaching a certain level of knowledge and skills, they are transferred to a new unfamiliar situation, which implies the use of already professional creative skills and the transition to professional creative activity. In other words, reproductive activity plays the role of a certain launching pad for the future creative activity of bachelors.

At the same time, it is important to note that reproductive activity turns into creative activity only if it is perceived as a mandatory initial stage in the accumulation of knowledge, skills and experience. Therefore, when preparing bachelors, it is especially important to focus on the formation of their professional creative activity.

Creative activity begins to take shape as early as school years, when students master the ability to think creatively by performing various types of creative tasks, such as writing essays, preparing reports, organizing school self-government, classes in subject circles, sections at school, etc.

The task of higher education is to bring this creative activity of the student to a qualitatively new level within a specific future profession, i.e., the formation of readiness for professional creative activity.

According to the results of the analysis of the definitions of the concept of “creative activity” available in pedagogy and psychology in the context of problem-based learning in educational organizations higher education, as a teacher's professional creative activity is understood the totality of his pedagogical actions based on theoretical knowledge, practical skills and the established system of values ​​aimed at creative independent solution of professional problems.

The development of a creative personality is greatly facilitated by problem-based learning, since it is directly aimed at the development of professional creative thought, creative interpersonal communication and professional creative skills in mastering the material of the subject. Problem-based learning provides an opportunity for creative participation of students in the process of obtaining new knowledge, the formation of cognitive independence and creative thinking, a high level of their motivation and successful assimilation of knowledge. The purpose of problem-based learning, unlike traditional, is not only to master the curriculum, achieve the results of the learning process, but also the way to obtain these results, which lead to the development of the student's cognitive independence, activate his creative abilities. Problem-based learning in educational institutions of higher education organizes learning activities from the standpoint of productive thinking, which includes both the teacher and students in the professional creative process.

Thus, despite the fact that problem-based learning is considered by researchers as a significant factor in the formation of a creative personality, the question of using the possibilities of a problem-based approach in the process of preparing bachelors and developing their professional creative skills remains insufficiently studied.

An indicator of the readiness of bachelors for the professional creative activity of a teacher is, to a large extent, the development of professional creative skills. Professional creative skills of bachelors are developed by means of problem-based learning.

Professional creative skills represent a four-stage structure (Fig. 1).

Rice. 1. General structure of professional creative skills

The initial professional creative skills primarily include posing a problem on the basis of the subject material being studied, with a preliminary problematic of the educational material, which allows at the earliest stage of training to activate the cognitive interest of students and provide the necessary level of cognitive reflection. Working with the text of the textbook allows you to get mainly knowledge and provides a theoretical vision of the problem. To put this problem into practice, one more professional creative skill is needed - to design problem tasks based on the identified problem. Moreover, problematic tasks can be

compiled by the teacher "from scratch", using the text of the textbook, and can be obtained by problematizing existing tasks in the textbook.

Solving problematic tasks in practical classes will allow students to bring the problem to the personal field. The student not only knows about the problem, but also takes the first independent steps to solve it.

The purpose of setting problem tasks is the final professional creative skill - the creation of a problem situation, i.e., a state of mental difficulty for students.

It is important to note that the compilation of problem tasks does not imply the automatic creation of a problem situation based on them. To do this, it is necessary that the problem tasks correspond to two significant criteria: the interest of students and their mental capabilities.

If the task is interesting, but unbearable for bachelors, then after several unsuccessful attempts to complete it, interest will quickly disappear due to the realization of the futility of their own actions. If the task is feasible for students, but not interesting for them, then its implementation will become routine work. Only the correspondence of problem tasks to both criteria allows us to bring the problem under study through tasks into a problem situation. In this case, the result of performing problem tasks is both new knowledge and the activation of problem thinking, the assimilation of methods for resolving situations of difficulty.

Professor A.M. Matyushkin comprehensively studied the mental activity of students and identified four types of problem situations in it: information type, gestalt type, behavioral type and probabilistic type. The significance of this classification is that it takes into account all possible types of mental intellectual difficulty. The main differences between each type of problematic situations are in the methods of resolution. We used the classification of A.M. Matyushkin in the development of problem tasks in order to master the basic techniques for getting out of difficult situations by students, making non-standard decisions, supplementing it with another significant spatial-graphic type of tasks, and we offer five types of problem tasks (Fig. 2).

Rice. 2. Types of problem tasks and methods for resolving problem situations

All types of problematic situations are closely interconnected, so each problematic task not only forms one or more methods of their resolution, but also activates the mental field for the formation of others directly or indirectly related to it. The actions of the teacher and students in constructing problem situations of any type depend on the level of development of professional creative skills of bachelors, as well as the topic being studied at the moment.

Thus, in order to implement in their future professional activities the requirements of the Federal State Educational Standard of Higher Education 3+ regarding the formation of the creative abilities of students, bachelors of pedagogical directions must possess a system of professional creative skills. The formation of professional creative skills among bachelors is a significant indicator of their readiness for the professional creative activity of a teacher.

Bibliography

1. Komissarova T.S., Skvortsov A.V. Spatial-graphical type of problem tasks in the professional training of specialists - psychological and pedagogical approaches // Academic science - problems and achievements: materials of the V Intern. scientific-practical. conf. Dec 1-2 2014 - SC, USA. North Charleston: LaCross Road, 2014. - Vol. 1. - P. 33-37.

2. Skvortsov A.V. Stages of formation of readiness of bachelors for professional creative activity // Nauch. review: humanitarian. research - St. Petersburg, 2016. - No. 11. - S. 66-74.

Resume (CV)- this is your business card, the correct compilation of which depends on whether you get the desired job or not. It is very important to approach writing a resume responsibly, because it can be a decisive factor in hiring you.

In this article, we will look at specific skills and abilities for a resume, as well as give you tips and advice on how to correctly fill out these sections of a resume. At the end of the article, you can download a standard resume template.

If you are interested in the question, you can read more about it in the article.

Education, experience, positions held in previous positions are mandatory parts of a CV. A good resume is unacceptable without describing the most important skills of a specialist. You need to describe these skills in such a way that a potential boss has an irresistible desire to hire not someone, but you.

1. Key skills and abilities for a resume

Those key skills that are reflected in your resume will definitely become the object of attention from the employer. Previous work experience and education will not always be able to reveal information about the skills that you possess.

The correct approach to filling out this resume block will enable the employer to understand even without personal communication that you are exactly the one he needs.

There are no such general key skills that would be suitable for any of the positions and professions. For those who cannot formulate their own professional merits, the following skills and abilities can be indicated:

• ability to interpersonal business communication;
• organization and planning of working time;
• attention to detail;
• analytical skills necessary to find solutions to problem situations;
• manifestation of flexibility;
• managerial skills
• business leadership skills.

Keep in mind that an employer may only require a subset of these skills, which is usually stated in their own job offer. It's much easier to reframe the employer's requirements into your core skills.

2. Skills and abilities for salespeople, consultants, secretaries, bankers…

Applicants for positions of salespeople, managers and consultants, as well as other positions that require regular communication with people, can indicate as their own skills and abilities:

• successful experience in sales;
• time management skills;
• competent speech, the ability to convince;
• effective communication skills;
• finding an approach to the client and reaching compromises;
• ability to learn and perceive information;
• the ability to listen to the interlocutor and give him competent advice;
• manifestation of tact and tolerance;
• creativity.

If you have information that the employer cooperates with foreign clients, knowledge of foreign languages ​​will be your advantage. Be sure to include this on your resume.

Service workers need to be skilled in the communication, analysis and decision making required to provide assistance. Any activity of such employees should be aimed at satisfying the interests of the client, which requires the applicant to be result-oriented, able to work in the presence of personal pressure and initiative.

Also, the employer will certainly be attracted by the resume of the candidate who will have knowledge of foreign languages, own a PC, conduct business correspondence, be attentive and interested in the overall result of the company's work.

3. Leadership skills and abilities: manager, manager, director, administrator…

It is worth starting work on a resume by identifying those skills that are of fundamental importance for a particular position.

Employers check managers with particular care, often making excessive demands on them. Those who wish to take a managerial position should indicate as skills:

• ability to resolve conflicts;
• optimal organization of the workflow;
• independent decision-making and responsibility for them;
• the presence of critical thinking;
• efficient management of time and labor resources;
• staff motivation skills;
• strategic thinking;
• effective negotiation;
• communication skills and the ability to gain trust.

The applicant can add to this group those professional features that he considers his strengths.

Professional skills and personal qualities in this case should have a clear distinction, because the question about the personal qualities of the applicant will certainly come from the employer, and their identity with professional skills will not allow creating a positive impression about themselves.

The list of skills can be supplemented by the ability to simultaneously perform several tasks, the ability to distribute responsibilities and control their execution.

4. Skills and abilities for teachers leading seminars and trainings…

Slightly different skills and abilities should be characteristic of teachers leading seminars. Such people should be:

• capable of motivation;
• highly initiative and energetic;
• masters in concentrating people's attention on certain phenomena for the required time;
• flexible and patient;
• capable of organizing the work process.

In addition, you can specify teachers should have competent speech and clear pronunciation, be good interlocutors in personal communication.

The main task of this category of workers is to establish contacts.

5. Skills and abilities for technical specialists: programmers, system administrators…

The skills that technicians should have are completely individual.

For example, system administrators are required to monitor the operation of all computers in the company, which requires them to:

• carrying out diagnostic measures regarding subordinate equipment;
• constant monitoring of possible risks;
• proficiency in English at a technical level;
• ease of perception of information flows.

6. Skills and abilities for accountants, auditors…

Professionals who are aiming for jobs related to accounting should have a clear understanding of the requirements of the employer. The accountant must have:

• analytical thinking;
• organizational skills to create a work algorithm;
• constant analysis;
• competent planning;
• increased attention to details and trifles;
• the ability to determine the degree of priorities;
• definition of priority tasks;
• skills to work with representatives of regulatory authorities.

7. Skills and abilities - examples for lawyers

Workers in the field of jurisprudence can indicate in the resume:

• knowledge of the law;
• skills in drafting contracts and documentation;
• use of legal electronic databases;
• ability to work with regulatory authorities;
• search for compromise solutions;
• setting goals and striving to achieve them.

8. Special skills and abilities for a resume

The ability to establish oral and written contact with counterparties, high achievements in the field of service, organization of the work process, the presence of speaker skills and many other skills will be assessed by the employer without fail.

Each of them is looking for such an employee who will be motivated to overall result, will show initiative and high energy in solving emerging issues, will be a pleasant and competent interlocutor, able to immediately make a decision, give an answer and be responsible for every word.

Applicants can include in their resumes:

• the presence of leadership qualities;
• technical knowledge;
• project organization and management skills;
• marketing abilities.

9. General skills and abilities

There are a number of general skills that professionals may have. Their list is generalized and not suitable for all specialties.

However, I think this list will be useful for you, perhaps you will find exactly those skills and abilities that you want to indicate in your resume. These include:

• knowledge of a foreign language (language and degree of proficiency in it);
• programming ability;
• budgeting;
• competent business conversation(oral and written);
• work with customer databases, including from the level of their creation;
• efficiency regarding the search for information;
• development of plans;
• analyzer actions upon sales (including those performed by competitive organizations);
• purchasing skills;
• skills in conducting inventory processes;
• ability in merchandising;
• work with commercial proposals;
• negotiation skills;
• training and motivation of colleagues;
• forecasting;
• pricing skills;
• skills in direct sales;
• persuasion skills;
• telephone sales skills
• skills to work with individual computer programs: Excel, Word, Photoshop, 1C, etc. ;
• the ability to object;
• use of primary data;
• handling office equipment;
• development and implementation of advertising and market research campaigns;
• legal expertise;
• scrupulousness in the preparation of reporting materials;
• collection and preparation of statistical information;
• ability to organize processes;
• readiness for team work;
• independence of decisions;
• organization skills;
• ability to apply methods of persuasion.

Each individual specialty is characterized by certain abilities. Among the presented, there will certainly be exactly those that will suit you and the position that has become your choice. These skills can be used for inclusion in a resume.

10. Correct compilation of a basic list of skills and abilities

Tip: when searching for the desired position, you should not limit yourself to a single resume, it is better to constantly modify it in relation to the vacancy. The skills representations on the main resume and the one you create for a specific position should be different.

In the main version of the CV, suitable for most positions, you need to describe the skills as follows: the “Skills and Achievements” column is the end of the “Work Experience” column, i.e. skills are the result of professional experience.

Let's say you worked as a marketer and are now looking for a vacancy for this position, you need to write a list of benefits that new boss will receive by hiring you for this position.

Professional skills and abilities for a resume example for a marketer:

• conducting marketing research;
• analysis of the market situation and consumer desires;
• ability to develop product ideas.

The list should not be very long and detailed - the main points will suffice. The recruiter reading your CV needs to understand that your core competencies come from experience, so don't make it up. Imagine that you were a simple employee, and write that you know how to organize work. No one will believe you and the recruiter will simply ignore you.

11. Do not confuse the description of your abilities and personality traits

About punctuality, sociability and responsibility should be indicated in the column "About myself". The "Skills and Achievements" column is needed only for information related to official obligations.

In the section "Professional skills" it is necessary to indicate the main skills acquired at the last workplace or at the university. Here you can also list your achievements. The section should reveal you as a specialist. In other words, this section should describe your "Qualification".

If you describe your skills, you will make your CV more attractive. After reading this section, a potential boss should clearly understand that the company needs you and you should definitely be called for an interview. He must be attracted by his knowledge and abilities. If you want this to happen more often, heed our advice:

• The "Qualifications" item should be placed exactly after the "Education" item. This is at least logical.
• This section needs to be changed for any new vacancy. You only need to write down the abilities that are suitable for the position you are looking for.
• Don't make yourself man-orchestra, carefully indicating the entire list of their pluses. Specify a few (4-8) key ones, this is enough. If you want to express some skills, you will have to sacrifice others.
• Initially, write down those abilities that are most consistent with the position you are looking for.
• Write the list in a way that is easy to read.
• You need to use those definitions and phrases used by the potential boss in the ad.
• When describing skills and abilities, you need to start phrases with the words “I have experience”, “I know”, “I own”, etc.
• No need to write about your traits, there is a special section in the resume for them.

Attention: the so-called "headhunters" are looking for rare employees. They are generally not interested in the experience of the candidate, they want the specific benefits provided to them.

12. Skills and abilities for a resume example for an HR director:

Ability to build communication within the company. Ability to effectively manage departments and projects. Organization of consultations and business training.

The new skill can be written with a red line, this will make your text easier to read, although it will take up more space. If you correctly describe your skills and abilities, this will significantly increase the chance that you will be called for an interview.

Education and experience, though a very important part of the resume, but they cannot create an impression of the right employee.

It is not enough for the hirer to know where you studied and received your professional experience. He needs to know exactly what you can do and how you can be useful to his firm. So correctly painted basic skills greatly increase the likelihood of getting the coveted job.

Core Skills are the combination of your skills and abilities needed to do well with the tasks presented to you. job requirements. So carefully chosen and well-formulated phrases can help your resume stand out from a lot of similar documents.

While working, try to gain skills, study extra and get certificates. In this case, you will be able to really arouse the interest of the hirer and get a higher probability of being hired.

We hope that examples of skills and abilities for resume will help you.

13. We indicate specific skills and abilities in the resume

Now let's imagine that you are writing a CV for a specific position in which you have an increased interest. Then the list of core skills should be treated as a list of specific rather than general skills.

Read the ad very carefully. What do you need to know to be hired for this position? Do these requests match your skills and experience? This must be indicated in the "Skills" column.

However, a simple rewrite of the requirements in the resume and designing them as your own skills - bad idea. The recruiter will immediately guess that you have decided to treat the resume as “get rid of it”. Change this information, make it more specific, add something that was not specified by the employer, but may benefit this company.

For example, if you see a requirement - fluency in English, then mention the ability to organize a visa for the boss (if this is the case, of course). After all, if the employer and his henchmen correspond in English, this may indicate that there are business partners from other countries, and in this case, the ability to organize a visa will arouse the interest of a potential boss.

Also remember that in our time, a recruiter will most likely search for candidates by keywords, so it is necessary to write a description of skills in such a way that it contains phrases that are in the text of the job description.

Spatial. It is inherent in many creative people - artists and designers. All three of these talents are essential for architects because the profession requires good command of words, numbers, and creative skills.

Modern production more and more demands from workers qualities that not only were not formed in the conditions of mass production, but were also deliberately minimized, which made it possible to simplify labor and reduce the cost of labor. These qualities include high professional skills, the ability to make independent decisions, teamwork skills, responsibility for the quality of finished products, knowledge of technology and production organization, and creative skills. Today, one of the distinguishing features is the dependence of production on the quality of the labor force, the forms of its use, and the degree of involvement in the affairs of the enterprise. Human resource management is becoming increasingly important as a factor in improving competitiveness, long term development firms.

Creative Skills 412 Creative

The skills acquired by the student as a result of studying the course "Macroeconomics" are used for multidimensional assessments of specific economic processes, have a significant impact on the informational, scientific, formal-logical and creative aspects of the implementation of the final thesis, and in the future can be used in professional activities.

PERSONAL MANAGEMENT - a field of knowledge that studies the organization of an employee's personal work, based on the use of scientific achievements and best practices, the use of technical means. P.m. allows you to best establish the interaction between the employee and the technical means used in the process of performing job duties. Readiness of the leader, specialist for efficient operation determined by the knowledge, skills, abilities and qualities of the individual. Rationally organize mental work, create favorable conditions for increasing its efficiency - these tasks are of particular importance today. In any field, mental work, in addition to mental activity, contains purely organizational, technical elements, a certain part of which is common to many professions. Consequently, the problems of organizing the personal labor of an employee can be studied from the point of view of organization, the methods used, principles and methods of work. The second side of the organization of personal work is the technique of personal work, the technical means used in the practice of daily work by management personnel. The scientific basis of P.m. is the sum of knowledge about the organization of personal labor, accumulated in the practice of managerial activity and presented in the form of principles, methods, methods of organizing the labor activity of management personnel. How science P.m. reveals the factors and conditions for the effective work of managers and specialists, on the basis of which he develops his theory, the content of which is the principles, forms and methods of rational activity of people in the management process. The work of a manager, a specialist, is not only objectively conditioned, but also has an initiative, creative character. From one

When preparing decisions, various methods are used, including methods for activating creative processes, mathematical modeling, etc. To develop decision-making skills, forms of active learning are used, which include game imitation of solving conflict situations (individual, group) and business games. The latter are a kind of tool for reproducing the processes of identifying and coordinating economic interests.

So, the defining element of the educational process is the teacher, his unique personality, rich creative potential, ability to improvise, pedagogical artistry. An unconventional approach to the teaching process is implemented through variants of theatrical techniques that allow solving the issues of optimizing the process of teaching a foreign language, on the one hand, and on the other hand, to form professionally significant skills and abilities from the first days of a student's studies at a university. The task of an artistic teacher is to have an emotional impact on the students, to evoke a response in the souls, certain experiences, without which the deep perception of life and its understanding is complicated, to establish faith in oneself in the minds and hearts of the children, to impress with their attitude, to make the imagination play with feelings, and the game - always free choice.

Entrepreneurial spirit. Although strategic management is built as a systematic, logical related theory based on empirical data, the success of a strategy is determined not least by foresight, intuition, a sense of doing the right thing - i.e. everything that is defined as an entrepreneurial initiative. As I. Ansoff notes, entrepreneurial behavior means creating the potential for profit where there was none before. This, in turn, requires the formation of new systems, new structures and new skills of managers, in particular, pronounced leadership traits - charisma, the ability to creatively solve problems, take risks, and plan based on entrepreneurial views.

Dialogue is a process of collective thinking and understanding of problems and enables the group to achieve a higher degree of realization of creative abilities. Dialogue is difficult at the level of the performers because it allows the conversation to flow freely, and the performers behave insecurely, not wanting to show weakness. For example, a number of learning centers are known to hold workshops on personal vision and mental models to enhance dialogue. Basic conversational skills are taught, such as how to prevent wrong abstract statements, how to explain a thought, interpret it, draw the right conclusions, and how to cool down a conversation.

Have intelligence, creative abilities Have knowledge, skills, experience Have strength, will, energy, purposefulness Work Have honesty, decency 9.7 7.6 6.2 4.7 2.7 30.9

The basis of motivation in Japan is the hierarchy of ranks, which is applied both in enterprises and in government bodies. The rank depends not only on qualifications, but also on the length of service in the company, helping colleagues, readiness to perform new functions, etc. In contrast to management styles based on a fixed division of labor (which is typical for Western countries, also for Russia) , Japanese workers and employees are encouraged for "mastering a wide range of knowledge and skills, creative activity, the ability to work in a team to find compromise solutions in the interests of the company. The rank of an employee of a Japanese company

Human participation in economic activity It is characterized by its needs and opportunities to satisfy them, which are primarily determined by the characteristics of the labor potential - health, morality, creativity, activity, education, professionalism, organization, resources of working time. Thus, a person in a market economy acts, on the one hand, as a consumer of goods produced by enterprises, and on the other hand, as the owner of the abilities, knowledge and skills necessary for enterprises, state and public bodies.

Mastery. Satisfied workers strive to improve their skills, apply new methods, and this further increases their interest in work. Therefore, especially in dealing with qualified specialists, one should try to influence professional pride. It is worth emphasizing the creative aspects of controlling.

The practical experience of successfully operating firms shows that segmentation itself is a complex and laborious process, creative in its essence, requiring serious experience, good knowledge and skills in marketing activities in general. All this is all the more important because there is still no formalized or well-established methodology for market segmentation. Moreover, firms carefully classify their experience of segmenting traditional markets. There are, however, certain recommendations in each printed work on marketing, but these are just general provisions.

Scientific skills and outstanding analytical abilities helped G. Emerson to generalize and creatively comprehend the rich practical experience, which was reflected in his main work The Twelve Principles of Productivity, which was published in 1912. The main attention in this work is paid to the concept of productivity (i.e. efficiency), by which he understood the optimal ratio between total costs and economic results.

The abilities of an individual can be classified into mechanical, motor-coordinating, mental and creative. Many of these abilities are genetically determined and difficult to train (example, finger dexterity and reaction time), but others, such as communication and leadership, are amenable. A person receives skills in these areas at home, at school, at universities, at work.

However, it should be remembered that the work of the leader is not only objectively determined, but also has an initiative, creative character. In this regard, we can say that the principles and rules of the NOT require creative reflection to determine the degree of their applicability, taking into account the current production situation. IN this case principles and rules serve only as a starting point for the manager's work on improving the individual working style, skills and methods of organizing their work.

Since consulting is not only intellectual, but also creative profession, then the consultant's training should be built on the principle of a "creative workshop" rather than on the principle of a "technical university". Active teaching methods (training, analysis of specific situations, game technology) should be used to the maximum extent possible, personal creative skills and abilities should be formed, although with the obligatory mastering of the "craft", i.e. profession technologies. It is advisable to include an internship in the initial education program, i.e. practical (field) training in the process of implementing consulting projects under the guidance of a mentor.

A Japanese child must memorize thousands of ideograms. And of course, at the same time, he does not at all develop the skills of sequential processes of mental activity (in psychology they are called successive), which are so necessary for creativity. He only sharpens his skills in operating with images (in psychology they are called simultaneous). The analysis of thinking, writes the well-known Soviet psychologist S. L. Rubinshtein, reveals the closest connection between thinking and speech and language. Creative thinking requires both successive and simultaneous processes. The Japanese develop mainly only the latter. Their creativity suffers as a result.

The abilities for performance work are characterized by a set of specific physical and neuropsychic potentials of a person, professional and qualification knowledge, skills, abilities, production experience - everything that predetermines reproductive labor activity within the framework of material production. Abilities for creative work are the abilities for performing work, fertilized by intellectual activity, aimed primarily at self-development and self-realization of the individual in the system of social organization of production. The main and distinctive component of the abilities for creative work is intellectual activity, thanks to which reproductive labor activity is filled with creative power.

Competitors may use pricing policies to capture market share or earn higher profits. This requires identifying price trends over time, because large changes in competitors' profits are often the last link in a chain of small fluctuations over many years. While relative cost analysis requires skill and some creativity, gathering competitor price information is relatively easy. If competitors sell more than one product, then a competitor price index can be calculated. The accuracy of the calculations is rechecked by total income.

In the modern world, the word "Wapakununk" could be interpreted as gaining competence, confidence and comfort in an ever-changing living environment. The existing educational system, however, requiring rote memorization instead of creative thinking activities, "creative streak", production flexibility. The danger lies in the fact that often for buyers the price is no less important than the properties of the goods. In addition, sometimes differentiation comes down to imitation, and as soon as consumers begin to understand this, the strategy of pseudo-differentiation ceases to "work".

Differentiation Strong marketing abilities Technical product design Creative abilities Strong research capabilities Enterprise reputation for quality or technology leadership Long tradition in business or a unique combination of skills drawn from other businesses Strong cooperation across channels Good coordination between R&D and marketing departments Subjective measurements and incentives instead of quantitative measures Facilities to attract highly skilled workers, scientists and creative thinkers

The ability to be creative, to create something new has always been highly valued in society. And it is not surprising, since people with this gift are a kind of generators of the development of human civilization. But creativity also has a subjective value. The person endowed with them creates for himself the most comfortable conditions for existence, transforms the world, adapting it to its needs and interests.

It would seem that everything is simple: you need to actively develop these abilities in yourself. However, for hundreds of years humanity has been struggling with the question of what is the secret of creativity, what makes a person a creator.

Before talking about creativity, let's first understand what abilities are in general.

• There are general abilities required in various fields, for example, .
• And there are special, associated with only one specific occupation. For example, a musician, singer and composer needs an ear for music, and a painter needs a high sensitivity to color discrimination.

The basis of abilities are innate, natural inclinations, but abilities are manifested and developed in activity. To learn how to draw well, you need to master painting, drawing, composition, etc., in order to succeed in sports, you need to practice this sport. Otherwise, in no way, the inclinations themselves will not become abilities, and even more so they will not turn into.

But how is creativity related to all this, because this is not a special type of activity, but rather its level, and a creative gift can manifest itself in any area of ​​life?

Structure of creativity

The totality of creative abilities and their active manifestation in the life of a person is called creativity. It has a complex structure that includes both general and special abilities.

General level of creativity

Like any other abilities, creative ones are associated with psychophysiological inclinations, that is, features nervous system human: the activity of the right hemisphere of the brain, the high speed of nervous processes, the stability and strength of the processes of excitation and inhibition.

But they are not limited to innate qualities and are not a special gift received by us from nature or sent from above. Creativity is based on the development and active, persistent human activity.

The main area in which creative abilities are manifested is the intellectual sphere. A creative person is characterized by a special, different from the standard, including logical. Different researchers call this thinking unconventional or lateral (E. de Bono), divergent (J. Gilford), radiant (T. Buzan), critical (D. Halpern), or simply creative.

J. Gilford, a well-known psychologist and researcher of creativity, was one of the first to describe a peculiar type of mental activity inherent in creatives. He called it divergent thinking, that is, directed in different directions, and it differs from convergent (unidirectional), which includes both deduction and induction. main feature Divergent thinking is focused not on finding one single correct solution, but on identifying multiple ways to solve a problem. The same feature is noted by E. de Bono, and T. Buzan, and Ya. A. Ponomarev.

Creative thinking - what is it?

They studied throughout the 20th century, and a whole range of features of the mental activity of people who are characterized by this type of thinking was revealed.

• Flexibility of thinking, that is, not only the ability to quickly switch from one problem to another, but also the ability to abandon inefficient solutions, to look for new ways and approaches.
• Focus shift - the ability of a person to look at an object, situation or problem from an unexpected angle, from a different angle. This makes it possible to consider some new properties, features, details that are invisible with a "direct" look.
• Image support. Unlike standard logical and algorithmic thinking, creative thinking is figurative. New original idea, idea, project are born as a vivid three-dimensional image, only at the development stage acquiring words, formulas and diagrams. No wonder the center of creativity is located in the right hemisphere of the brain, which is responsible for working with images.
• Associativity. The ability to quickly establish links-associations between the task and the information stored in memory is an important feature of the mental activity of creative people. The creative brain resembles a powerful computer, all systems of which are constantly exchanging impulses that carry information.

Although creative thinking is often opposed to logical thinking, they do not exclude each other, but complement each other. It is impossible to do without logical thinking at the stage of checking the found solution, implementing the idea, finalizing the project, etc. If rational logical thinking is undeveloped, then the idea, even the most brilliant one, most often remains at the level of the idea.

Creativity and intelligence

When talking about a person's ability to think, they most often mean. If the connection between the intellect and the development of logical thinking is the most direct, then the same cannot be said about the creative potential.

On the standard IQ test, people who score below 100 (below average) are not creative either, but high intelligence does not guarantee creativity. The most creatively gifted people range from 110 to 130 points. Among individuals with an IQ above 130, creatives are found, but infrequently. Excessive rationalism of intellectuals hinders the manifestation of creativity. Therefore, along with the IQ, the creativity coefficient (Cr) was also introduced, and, accordingly, tests were developed to determine it.

Special abilities in creativity

The presence of general abilities in creative activity ensures the novelty and originality of its product, but without special abilities it is impossible to achieve mastery. It is not enough to come up with an original storyline for a book; The image born in the imagination of the artist must be embodied in the material, which is impossible without mastering the technique and skills of visual activity, and the development of a scientific and technical invention involves mastering the basics of exact sciences, knowledge in the field of mechanics, physics, chemistry, etc.

Creativity has not only a spiritual, mental, but also a practical side. Therefore, creativity also includes applied, special abilities that develop first at the reproductive (reproducing) level. A person under the guidance of a teacher or independently masters specific methods, techniques of activity that were developed before him. For example, he learns musical notation, masters playing a musical instrument or the technique of visual activity, studies mathematics, the rules of algorithmic thinking, etc. And only after mastering the basics specific activity, having developed the necessary skills and gained knowledge, a person can move to the level of creativity, that is, create his own, original product.

Special abilities are needed for a creative to become a master, and his activity (and any) to become art. The absence or underdevelopment of special abilities often leads to the fact that creativity is not satisfied, and creative potential, even quite high, remains unrealized.

How to determine if you have creative abilities

All people have a predisposition to creativity, however, the creative potential, as well as the level of creativity, is different for everyone. Moreover, a person placed in certain strict conditions (for example, when performing a task) can use creative methods, but then do not apply them either in professional or in everyday life and do not feel any need for creativity. Such a person can hardly be called a creative person.

In order to determine the presence and degree of development of creative abilities, there are many test methods developed by psychologists. However, in order to adequately assess the result obtained by these methods, one must have knowledge in the field of psychology. But there are a number of criteria by which everyone can assess the level of their creativity and decide how much they need to develop their creative abilities.

Levels of intellectual and creative activity

Creativity implies a high level of intellectual and creative activity, that is, not only the ability for mental activity, but also the need for it, independent, without pressure from the use of creative thinking techniques.

There are 3 levels of such activity:

• Stimulus productive. A person at this level conscientiously solves the tasks assigned to him, tries to achieve good results. But he does this under the influence of external incentives (an order, a task from above, the need to earn money, etc.). He has no cognitive interest, dedication to business and internal incentives. In his activities, he uses ready-made solutions and methods. This level does not exclude some random original solutions and findings, but once using the method he found, a person subsequently does not go beyond it.
• heuristic level. It assumes the ability of a person to make discoveries empirically, empirically, often reduced to trial and error. In his activity, the individual relies on a reliable, proven method, but tries to refine it, improve it. Such an improved method is regarded by him as a personal achievement and a reason for pride. Any found interesting, original idea, someone else's idea becomes an impetus, a stimulus for mental activity. The result of such activity can be very interesting and useful inventions. In the end, man invented the airplane while watching birds.
• The creative level involves not only active intellectual activity and problem solving at the theoretical level. Its main difference is the ability and need to identify and formulate problems. People at this level are able to notice details, see internal contradictions and raise questions. Moreover, they love to do this, having a kind of “research itch”, when a new interesting problem that has arisen makes them postpone the activities that have already begun.

Despite the fact that the creative level is considered the highest, the heuristic level is the most productive and valuable for society. Moreover, the most effective is the work of a team in which there are people of all three types: the creative gives rise to ideas, poses problems, the heuristic refines them, adapts them to reality, and the practitioner brings them to life.

Parameters of creative talent

J. Gilford, who created the theory of divergent thinking, identified several indicators of the level of creative talent and productivity.

• Problem posing ability.
• The productivity of thinking, which is expressed in the birth of a large number of ideas.
• Semantic flexibility of thinking is the rapid switching of mental activity from one problem to another and the inclusion of knowledge from different areas in the thought process.
• Originality of thinking is the ability to find non-standard solutions, to give birth to original images and ideas, to see the unusual in the ordinary.
• The ability to change the purpose of an object, improve it by adding details.

To the characteristics identified by J. Guildford, another important indicator was later added: the ease and speed of thinking. The speed of finding a solution is no less, and sometimes more important than its originality.

How to develop creativity

It is better to start developing creative abilities from childhood, when the need for creativity is very strong. Remember with what delight the kids perceive everything new, how they rejoice at new toys, activities, walks in unfamiliar places. Children are open to the world and, like a sponge, absorb knowledge. Their psyche is very flexible and plastic, they still do not have stereotypes, standards, on the basis of which adult thinking is built. And the main tools of mental activity of children are images. That is, there are all the prerequisites and opportunities for the effective development of creative abilities. This process is especially successful if adults encourage the manifestation of children's creativity and organize joint activities and games themselves.

As for adults, in this case it is also possible to increase the level of creativity, to make professional activity more creative or find an opportunity to fulfill their need for creativity in some kind of art, hobby or hobby.

The main thing for an adult is precisely the presence of a need, since people often complain that God has deprived them of talent, but do nothing to find an area in which their personality could be realized. But if you have realized the need to develop your potential, then there is such an opportunity.

Any abilities are developed in activity and involve the mastery of skills, that is, training. Given that creativity is primarily a set of qualities and properties of thinking, it is the thinking abilities that need to be trained.

Especially for the development of creativity, thinking, entire trainings have been developed, and exercises from them can be performed independently, especially since they often resemble an exciting game.

Exercise "Chain of Associations"

Associative thinking plays an important role in creativity, but it is most often involuntary, spontaneous, so you need to learn how to manage it. Here is one of the exercises to develop the skills of conscious work with associations.

1. Take a sheet of paper and a pen.
2. Choose some word. The choice should be arbitrary, you can simply open the dictionary on the first page that comes across.
3. As soon as you read the word, immediately “catch” the first association to it in your head and write it down.
4. Next, write down the next association in a column, but already on the written word, and so on.

Make sure that the associations are consistent, for each new word, and not for the previous one or the very first one. When there are 15-20 of them in a column, stop and carefully read what you got. Pay attention to what sphere, area of ​​reality these associations belong to. Is it one area or several? For example, the word "hat" can have associations: head - hair - hairstyle - comb - beauty, etc. In this case, all associations are in the same semantic field, you could not get out of the narrow circle, jump over stereotypical thinking.

And here is another example: a hat - a head - a mayor - a thought - thinking - interest - reading - lessons, etc. There is an associative connection here, but thinking is constantly changing its direction, entering new spheres and areas. Undoubtedly, the second case testifies to a more creative approach.

While doing this exercise, try to achieve such transitions, but do not think about the birth of associations for too long, because the process should be involuntary. The game with associations can be played in a company, competing, who for a certain period of time will have more associations and more original transitions.

Exercise "Universal item"

This exercise helps to develop a whole range of qualities: originality of thought, semantic flexibility, imaginative thinking and imagination.

1. Imagine a simple object such as a pencil, a pot lid, a spoon, a box of matches, etc.
2. After choosing an item, think about how it can be used, in addition to its direct purpose. Try to find as many applications as possible and try to keep them original.

For example, a saucepan lid can be used as a shield, as a percussion instrument, as a basis for a beautiful panel, as a tray, as a window in its absence, as a hat, as an umbrella, as a carnival mask, if holes are drilled in it for the eyes ... Can you continue?

In the same way as the first exercise, this can be done in a group, giving it the form of a competition. If the group is large enough, for example, a class, then you can suggest naming the new functions of the subject in turn. The player who cannot come up with a new one is out. And in the end, the most creative ones will remain.

These are just examples of exercises on . Try to come up with such games yourself, and this will also be a good training.