The development of creativity by means of visual art at primary school: theoretical aspect

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The development of creativity by means of visual art at primary school: theoretical aspect

Viktoriya Chorna

Annotation

UDC 37.036.372.87

DOI: https://doi.org/10.24919/2308-4634.2018.133897

THE DEVELOPMENT OF CREATIVITY BY MEANS OF VISUAL ART AT PRIMARY SCHOOL: THEORETICAL ASPECT

Viktoriya Chorna, Ph.D. (Pedagogy), Senior Lecturer of the Primary Education Department Tetyana Olishuk, Student Melitopol Bohdan Khmelmytskiy State Pedagogical University.

The article deals with the developmental recourses of visual art for primary school children's personality. The authors insists that the drawing lessons at school are an effective way for it. The formation of creative personality, the realization of natural inclinations and abilities in the educational process is a strategic priority for modern educational system in Ukraine. There are manys famous domestic scientists (such as I. Bekh, L. Vyhotskiy, S. Didenko, A. Leontyev and others) also prove it in their research work. The aim of this article is to find out the visual arts' creative and developmental resources of primary school pupils. There are analysis of the theoretical and historical aspects of this problem, turn the attention to the professional activities of educators and professional artists in this article.

Authors make a conclusion that further relevant is the search of new pedagogical technologies holistic development of the child s creative activity by means of art: kindergarten - elementary school - high school; study of the range of issues concerning artistic creativity of gifted children in the special educational institutions.

Keywords: the pupils of primary school; visual art; development recourses.

Анотація

РОЗВИТОК КРЕАТИВНОСТІ ЗАСОБАМИ МИСТЕЦТВА У ПОЧАТКОВІЙ ШКОЛІ: ТЕОРЕТИЧНИЙ АСПЕКТ

Вікторія Чорна, кандидат педагогічних наук, старший викладач кафедри початкової освіти;

Тетяна Оліщук, студентка Мелітопольського державного педагогічного університету імені Богдана Хмельницького.

Стаття пов'язана з визначенням розвивального ресурсу уроків образотворчого мистецтва для формування особистості учня початкової школи. У статті подано глибокий аналіз теоретичного та історичного аспектів визначеної проблеми, авторами звернуто увагу на результати професійної діяльності не тільки педагогів, але й вітчизняних художників. Автори роблять висновок, що наразі необхідно шукати нові та адаптувати вже існуючі шляхи формування креативності у молодших школярів засобами образотворчого мистецтва.

Ключові слова: молодші школярі; образотворче мистецтво; розвивальний ресурс.

Introduction

One of the priorities identified person capable to think creatively, to find innovative by the National Education Doctrine of Ukraine solutions, to flexibly respond to changes in the terms is the conditions' creation for education of the of all society spheres radical restructuring. In this regard currently there is a modernization of the national education system and developing the latest concepts of person's education.

The formation of a creative personality, the realization of natural inclinations and abilities in the educational process is a strategic priority: firstly - the necessity for growth of the child's creative resources in the context of society globalization; secondly - the necessity of creative activity activation in all fields of constructive activity in connection with the acceleration development in all spheres of spiritual and material production in the society; thirdly - the leading role of creativity as the subjective and objective factors in the development of general and artistic personality's culture.

During the spiritual revival of Ukraine, the problem of development and person's formation, especially is creative endowed with the potential to transform for the better the surrounding world, has acquired special urgency In this regard, the educational sector with a view to further personal fulfillment is increasingly shaping the children and youth of the modern world to develop creative abilities and skills of independent scientific knowledge.

Analysis of scientific research and publications. Significant contribution to theoretical, methodological and psycho-pedagogical support of the educational process made: J. Comensky, J. Pestalozzi, V. Sukhomlinsky, K. Ushinsky and others have described the sensitivity of primary school age to creativity in particular artistic and imaginative; I. Bekh, I. Bozhovich, L. Vygotsky, V Davydov, S. Didenko, A. Leontiev and others have proved that primary school age is a period of intense creative formation; B. Ananiev, G. Arnheim, N. Brusov, T. Spolova came to the conclusion that art is a unique subject that provides students with many opportunities for development of image-associative thinking, imagination, artistic perception. Since, as noted by leading scientists (G. Kostyuk, L. Leontev, V. Malacov, Y. Ponomarev, etc.) personality is formed intensely in the period of school age, the school aims to play is a leading role in the creative development of younger pupils. However, in the modern pedagogy of art there are certain gaps in relation to creative development of children. They are caused by the reproductive and executive types of work, practice, involvement in creative activities. As a result, the children's majority is out of this peculiar and important field of artistic and educational impact.

Purpose. The purpose of research work is find out theoretical aspect of primary school's education for elementary schools pupils' development.

Theoretical basis and results

Currently, pedagogical science paradigm develops of pupils centered learning for the new school of the XXI century. This school, as stated in the Concept of general education must nurture a creative personality capable of self-education and self-development, critical thinking, able to handle a variety of information, to use the acquired knowledge and skills to creative problem solving.

Until the middle of XX century, creativity was associated with intellectual achievements. The definition of creativity exclusively or primarily in terms of intelligence was initiated by native school. A generic view of the psyche as the highest form of adaptation and adaptation was the basis for definition of creativity essence, which is regarded as the overall ability to consciously direct your thinking to new requirements to adapt to new tasks and conditions of life [3, 157].

At the end of the XIX century scholars began to recognize the creator in the child. The immediacy of the child's perception and its recreation in art has led to the works of outstanding masters of painting J. Brack, R. Dufy, F. Leger, X. Miro, P. Picasso, M. Chagall, etc. The idea that the child in their psychological structure is "innate" artist spoke by J. Korczak, M. Prishvyn, K. Stanislavsky, etc.

The features of younger pupils' creative development depend for many factors: the age and psychological characteristics of the child, the richness of his life experience, the ability to focus on task, to plan their work, from the nature of the relationship with the teacher and classmates. If you activate these factors the child is more fully included in the creative activity because "every child is a potential creator various, including aesthetic values: building houses, it exhibits its architectural creativity, sculpturing and painting - he or she is a sculptor and the painter, finally, he or she has a very large attraction to the dance, song and dramatization" [6, 124].

Renowned teacher, scholar K. Ushinskiy believed that the systematic drawing training should begin when the child turns seven years, because it is not only a pleasant, interesting activity, but also an effective means of developing thinking, emotional sphere and self-improvement. In the teacher's opinion, initial training offers not one but several objects: visual learning, writing, drawing, children's work, reading, counting, singing and gymnastics which change each other and support the child's physical and mental vitality and joy.

Based on the analysis of literary and pedagogical heritage of T. Shevchenko, we can conclude that he saw the educational ideal in a fully developed personality, particularly in artistic and aesthetic terms. The artist believed that the learning process should be directed to development of child's abilities, the formation of such skills, which subsequently would make life more meaningful. T. Shevchenko has emphasized to study the basics of art, the introduction of drawing into the circle of subjects: "Learn, learn to draw, this science is not hurt another science" [4, 210]. recourse visual art school

F. Schmidt comparing the development of children's creativity with the development of world art pointed out the importance of visual art in shaping a creative personality primary school age's child. In his studies he showed the patterns of children's art development, the features of creative person's formation.

The scientists study the problems of art education of the past are relevant now. In particular, developed the provisions on: the definition of art's meaningful value in shaping the personality of the primary school age's child; the introduction of the study of visual arts in primary education as a general discipline; a combination of drawing's didactic and practical importance with a dominant the second. These provisions formed the basis for the development of the art education concept.

Unlike other spheres of public consciousness and activities (science, politics, economics, morality, etc.) art meets the unique needs of human perception in the developed forms of human sensuality. This need is the foundation on which to build aesthetic culture of personality.

International school of the XX century has significant achievements at the teaching artistic subjects' field. So, in the pedagogical heritage of the famous Italian educator Maria Montessori is an original approach to the development of shapes and colors children's understanding, however, there is no material for the development of imagination in children and their creativity. Even painting, which was rightly called "graphic speech" in M. Montessori acquired technical direction - drawing circuits (preparation for writing) coloring the finished drawings to distinguish colors.

The fruitful international experience of the French schools where art education and aesthetic education received considerable attention. So the law on compulsory art education at all levels of school provided a dramatic improvement in teaching arts and music; the spread and development of the school in various means of artistic expression: dance, architecture, cinema, audiovisual media; involvement in educational institutions of professional stuff working in a specially created school studios; expanded the teaching of artistic and aesthetic cycle subjects; deepen curriculum; the development of creative and cognitive abilities of pupils through the experience of direct communication with different types of art (painting, theatre, cinema etc.); the use of during employment with architecture, graphics, sculpture of different audio-visual tools; release for schools a special series of paintings reproductions by eminent artists, records with well-known musical works, books of art disciplines and so on.

Quite interesting, distinctive and unique is the development of culture in Japan, in which though naturally combines opportunities for the development of the classic way, on the one hand and, on the other in coordination with the Western European model. Already in the 70^th years of the last century was introduced compulsory 4-year education. In 1962 Japan had adopted "the program of human formation" which is permeated with ideas about the harmonious development of the personality: intellectual and physical development, moral education, aesthetic and artistic perfection. Japanese school art teaching in high school is not lifted and increases sharply (up to 6 hours per week) which ultimately leads to incredible success in various sectors of the economy [5, 163].

Art in all its varieties is based on a joint basis - artistic literacy and knowledge without which creativity is impossible. Visual literacy is the mastering of fine art means. Because thanks to them the pupil is able to reveal the attitude not in art classes but also classes in music, nature, reading, speech, etc. Therefore, we believe that the successful absorption of funds fine arts younger pupils is the integrative basis for their educational and creative types of drawing as well as for the adequate perception of works of art.

In modern literature the term "learning" is defined as the purposeful activity of the subject and object of the pedagogical process. It's learning content due to the level of sciences development and the social experience of mankind, methods and forms - age and individual characteristics of pupils, needs of society and schools to convey their pupils' maximum of knowledge and skills. The main goal of learning is assimilation of knowledge, acquisition of skills and dynamic creative development of each pupil.

In the domestic and foreign learning theory and practice is mostly associated with the formation of the knowledge and skills body. As for creative development, defining it in the context of the individual characteristics of the pupils, providing the successful mastery of one or more types of activity are often regarded "as a side effect" (that is unregulated depending on many cases) which arises due to the formation of knowledge, abilities and skills.

In recent years experimental program in visual art with design elements for primary and for intermediate grades. Their basic feature is the desire to direct study of the subject "art" in the mainstream of design and design thinking. The challenge of schooling in the basics of fine art to raise the identity of the aesthetically formed able to create and transform the surrounding socio-better. It needs to be someone with a set of skills is diverse and variable reading and the creation of the objective world that is people with design thinking [2].

In school practice over the last decade are different programs and different approaches to art education fine art including:

a) comprehensive training drawing the content of which is structured and filled in accordance with overarching themes;

b) the development of child free creativity, program objectives and methods aimed at updating sensitive and stimulate their creative abilities;

c) poly-artistic development of the individual pupil when a software task with an integrative approach to using the technique of "multicultural education".

Each new step in the development of child graphic activity is the result of the assimilation of the known human experience forms. The facts, this experience's assimilation is largely disguised by the fact that in representational activities transferred actions and mental processes formed under the influence of general living conditions and upbringing of the child. However, in the absence of targeted training, this uptake is carried out spontaneously Adults specific system requirements, expectations and estimates and direct screening and management of fine form in the child attach to the development of the vector, which leads to the assimilation of society visual culture in which it lives and educated.

Any art is an expression of the personality which is a basic human need the basis of its activity. This activity is the constant accumulation of the necessary knowledge acquiring practical skills of the individual.

The child drawing often sees in practice an exciting game that is the learner communicates as if with the familiar emotionally perceive images. Many children have their favorite images that define fantasy as a result of the creative activity tension. Graphic images of primary school are based on visual impressions about the subject and thanks to its value for them and the child's behavior with this subject. Therefore, in the drawings pupils send only those features depicted which they consider the most important and significant. Depicting the subject, the children tell everything they know. This is because the children of primary school age peculiar ability to reproduce images not in the way they sees it.

In the early grades on the arts lessons it is advisable to use interdisciplinary connections to include in the content of the lessons and quizzes from the other subjects' material. These tasks should contribute to a deeper perception and understanding of the artistic image, creating an emotional response which is an important component of creative activity.

With the aim of a holistic perception of the surrounding world the formation of knowledge to a qualitatively new level, creating conditions for the specific artistic image's comprehensive examination, exhilaration, imagination, fantasy, emotion of the pupils to the contents visual art lessons in primary school. It is expedient to use elements of integration as the highest form of interdisciplinary relations that is to combine the blocks of knowledge from different subjects.

The integration is the leading principle of the creative personality development in the modern world. Integrative processes are spread in the pedagogical reality.

In art there is a synthesis which is regarded as a factor of integration which can be implemented by introducing programs that integrates all kinds of art. The unified nature of all art forms allows for their integration and the capabilities of each child.

On the effectiveness of imagination and fantasy influenced all types of art are deeply interrelated and have as their goal the creation of artistically vivid emotional image. For example, while listening to the music people have a clear visual representation.

There are two large streams that merge internal development of the creative personality into a single channel - this is the reality which gives life to the artist the creative material and the personality of the artist, his (or her) inner world. Their interaction determines the personality self-expression for observing its environment, noticing all the beauty that nature has created there are private mental images.

A renowned teacher and scholar Sh. Amonashvyly had wrote that all works of art reflect the sensory, emotional attitude to people, nature and life in general. Symphony, art paintings, plastic motion of the body is different forms of human joy, sorrow, desires, and to understand them, you must know the language of each art. "I want, that children are not today, then tomorrow discovered the reality and learned that different language that it represents. Then I'm sure they get to know themselves and express themselves in music, drawing, dance will make the process of aesthetic pleasure, the joy of perceiving the world" [1, 26].

Artistic creativity is important to the integrity of perception which helps you to play real and at the same time beautiful in its own way objects and phenomena of reality, the level of phenomena interpretation of life, logic, artistic and imaginative picture of the world. Synthesis of acquired knowledge and a variety of perceptual processes form the basis of the worldview. Therefore, the use of cross-cutting integration in the visual art lessons will contribute to the expansion of knowledge, artistic exploration of reality, the formation of the ability to see and respond emotionally to realize the beauty, the aesthetic quality of the various phenomena and objects of the activities of the natural phenomena of flora and fauna, cities and villages, houses and apartments, appearance of a person (reflected in clothing, jewelry, external features, plastic body) and the inner world (emotions, feelings).

The general lack of training programs, in our view, is that they insufficiently expressed focus on consistent and dynamic creative development of the younger school pupils. The main reason is the lack of a clear relationship between the educational and creative drawing, as well as the aesthetic perception of the environment and works of art.

The positive aspect of developing the content of some programs is to attempt a synthesis of the arts, sectorial and intersectional integration through interdisciplinary connections. According to our beliefs it is promising updates to these programs since the curriculum of the discipline "art" in primary school there is only one hour per week to master it pupils and the increase in hours is not expected. Therefore, the use of arts synthesis, sectorial and intersectional integration through interdisciplinary connections the content of the primary school, in our opinion can fill the gap of lack of training time at the expense of other disciplines that not only will affect the amount and quality of assimilation by pupils' knowledge, abilities and skills, but also will stimulate their creative development.

Conclusions

Each person inherently is already original and unique from birth. And any copy, in life, in the depiction there is already a fake, which is not determined by originality. In art originality deviation from the template is manifested in a variety of artistic currents and in the individuality of artistic style and depends on the goal. Considering the individual characteristics of pupils at art lessons is done by the individualization and creative direction of the educational process, which is the basis of individual approach. It involves the stimulation of the emotional sphere of personality, positive motivation and self-expression in artistic activities.

Further relevant is the search of new pedagogical technologies holistic development of child's creative activity by means of art: kindergarten - elementary school - high school; study of the range of issues concerning artistic creativity of gifted children in special educational institutions.

References

1. Amonashvili, Sh. (1987). Vshkoly s shesti let. [To school from six years old]. Moscow: Pedagogy, pp. 9-56. [in Russian].

2. Bruner, D. (2007). Psylologiyapoznaniia. [The psychology of cognition]. Kyiv: Progress, 412 p. [in Ukrainian].

3. Dorovskii, A. (1997). Sovety dlya razvitiya odarennuh detej: roditelei, vospitatilei, uchitelei [Plenty of advice on the development of gifted children: parents, caregivers, teachers]. Kyiv: Znannia. 310 p. [in Ukrainian].

4. Shevchenko, T. H. (2015). Vubrani tvoru [Selected works]. Kyiv: Znannia, pp. 297-405. [in Ukrainian].

5. Torrance, E. P. (2011). The nature of creativity as manifest in its testing. The blazing drive: The creative personality. Buffallo, NY: Bearly Limited, pp.56-60. [in English].

6. Velickovskiy, A. (1998). Psihologiia luchnosti. [Psychology of personality]. MGU: Moscow, 188 p. [in Russian].

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