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Speech by the educator Lukmanova Reseda Rasulovna with a presentation of work experience on the topic "Moral education of children of younger preschool age through the artistic word". Materials and tools. Additional education teacher

Speech at the regional methodological association

Topic: The manifestation of creative children

abilities in the image of nature.

Children's creativity reflects the surrounding world, nature, both on the basis of their direct perception, and as a result of acquaintance with works of art and literature, which capture living, unique phenomena of nature.

Comparing life phenomena with their reproduction in poetry, the child primarily relies on his own life experience. He perceives nature not only contemplatively, but also effectively, giving preference to some objects and phenomena over others. At the same time, the child is very active: he strives to touch everything he sees, examine, thoroughly examine from all sides and, of course, describe in his own way vividly and figuratively. The aesthetic perception of nature causes in children a feeling of a careful, caring attitude towards plants and animals, a desire to take care of them, and in a poetic description it helps children to comprehend life observations, encourages them to reflect their impressions in drawing. The more a child accumulates knowledge about nature, the richer, brighter his imagination becomes, without which creative activity is unthinkable. The development of children's creativity is of great help in the methodology of guiding the visual activity of children. Nature is revealed in poetry in the color compositional, coloristic characteristics of images. Various colors become more understandable for children due to the fact that the poet very subtly and expressively distinguishes them in the work with the help of epithets that directly or indirectly indicate the color of the object. Epithets define different tones, shades of color. For example, the guys understand that the "dark forest" is boring to depict with saturated paint, and "transparent forests" require images in lighter colors.

Artistic means also help to convey a certain color of the landscape. Color can also emerge with the help of epithets - adjectives that give a bright color characteristic of a particular picture of nature.

Poems about nature help a child correctly imagine a particular situation, place an image on a piece of paper. Certain words often indicate the place of the action taking place.

So, the aesthetic perception of landscape lyrics by children contributes to a deeper knowledge of reality, nature, on which children's creativity is based.

The development and manifestation of creative abilities is significantly influenced by the main factors: direct observation of wildlife, the reinforcement of these ideas by clarifying conversations, viewing paintings (reproductions) and illustrations, acquaintance with the best poetic examples of describing nature.

Poetic works about nature are the most effective and specific means of developing a child's creative approach to depicting the world around him. Such a property of poetry as visualization enriches and diversifies the content of children's drawings, contributes to the introduction of moments into them that, during ordinary observation, are not always noticed by children.

Poetic characteristics of color, shape of objects, composition, individual characteristics of images, actions, contributes to the reflection of these qualities in children's landscape drawings.

The influence of the expressive side of the poetic image on children's drawing is manifested in the child's transfer of his emotional attitude to the description of nature, which significantly increases the aesthetic qualities of the image.

Children can create creative drawings and only on the basis of observations of natural phenomena. But if you carry out purposeful work with them to develop the imagination and acquaint them with poetry, then the lyrical images of nature will necessarily be present in any children's drawing, enriching and complementing it with characteristic details. On the basis of developing aesthetic feelings, a certain attitude towards nature begins to appear in the drawings. Only by observing nature, a child sometimes cannot find pictorial means to convey it in a drawing. In this case, the poetic image prompts the child to solve this problem. It also contributes to the creation of a detailed landscape in the drawing, that is, it helps not only to reproduce individual images of nature with their individual characteristics, but also to reveal the relationships between them, to arrange all objects in certain relationships, to clearly show some signs of a particular season and finally, express feelings. Children's landscapes are always expressive, although the technique of their execution is sometimes imperfect. This is due to the fact that the possibilities of perceiving expressive means in children are higher than the visual skills that contribute to their transfer in the drawing. Therefore, children use form, color, composition, flavor in their own way in their creativity. When drawing a landscape, a child strives to reflect only signs and features that are characteristic in his opinion. For example, when drawing a spruce, children of five to six years old convey only the main signs of a tree: the trunk and branches. Older children tend to highlight old and young spruces, large and small, etc. Different shades of green in the color of needles, branches, different structure and color of the trunk, individualization in details in the image of a tree are often found in children of middle school age.

One of the features of the manifestation of creativity in a child's landscape drawing should be considered his ability to depict the background in different ways, composing and using shades of colors. At the same time, the background coloring fulfills an important semantic function - it contributes to the transfer of the mood and feelings of the little artist. To a large extent, a poetic work contributes to the development of children's compositional skills. Lyrical lines seem to suggest the possibility of conveying perspective in the image of space ("only in the distance they flaunt ..."), compositional highlighting of the main image ("a Christmas tree was born in the forest ..."), reflection of the connection between objects. Children convey space in a peculiar and creative way: in the form of a frieze (one line), a wide strip of earth, two or three friezes; can depict the horizon, drawing roads, rivers, elevated places (hills, snowdrifts), a wide or narrow space of the sky. Arranging individual images

Alongside, children highlight their differences in size.

The transfer of space in a drawing is the most difficult task for children, since for this they need not only to perceive the connections between objects, but also to understand the conventionality of their depiction on a plane. Sometimes the composition is constructed in such a way that in the foreground of the sheet the child depicts large objects, then an even space follows, and objects of smaller sizes are placed at the top of the sheet.

So, having characterized the features of the child's use of various means of expressiveness of the drawing, we can conclude that even a school-age child, as a rule, does not yet convey the volumetric form, the depth of space, complex angles, chiaroscuro. But in their own way, strive to convey the ratio of parts of the object, to highlight the essential, drawing details, observing rhythm, symmetry, using the desired color.

We understand the creativity of children as the ability, acquired in the process of education and training, not only to recreate what is observed, but also to transform what is perceived, introducing our initiative into the concept, content, and form of the depicted.

The creative expressiveness of children's drawings is not something unchanging, frozen. It develops under the influence of teaching, you just need to find the most effective system of pedagogical influences. The teacher must constantly remember about the influence of emotions as the driving force of the imagination, and, consequently, the expressiveness of children's creativity. It is emotions that cause the child to strive to convey his attitude towards the depicted. At the same time, without mastering realistic methods of drawing, not knowing enough of reality itself, a child cannot convey this in a drawing. He is looking for feasible means of image, to get acquainted with objects of the surrounding reality. Children's imagination creates certain images based on the experience that the child receives through perception. Their expressiveness depends on the passion for the topic, on the interests of children. The more the child is captured by the theme of the drawing, the more expressively he tries to convey it.

Skillfully guiding the process of development of children's artistic creativity, taking into account the capabilities and interests of each child, enriching his mental and spiritual - emotional sphere, the teacher can achieve high results in the complex solution of the program tasks of aesthetic education.

Open lesson for students 7-11 years old.

Additional education teacher -.

Lesson topic: "Drawing a landscape"

The purpose and objectives of the lesson:to expand the knowledge of children about the types and genres of fine arts, about the landscape, learn to draw a landscape, come up with the content of the picture, be able to depict objects in the background and foreground, develop imagination, be able to analyze the finished drawing.

Materials and tools:

Reproductions of animal painters,

Illustrations, photo illustrations,

Simple pencil,

Eraser,

Brush,

A jar under water.

The course of the lesson.

The teacher reads an excerpt from a poem by M. Yasnov.

If you see in the picture

The river is drawn

Or spruce and white frost,

Or a garden and clouds, or a snowy plain,

Or a field and a hut,

Required painting

It is called "landscape".

So, guys, you probably already understood that the topic of our lesson is "landscape".

What does the word "landscape" mean?

Landscape is a genre of fine art. The word "landscape" came to us from France, it means the image of the natural environment. What natural environments exist around us?

+ (sea, mountains, forest, river, city, trees, swamp, field, etc.)

Many famous artists depicted nature and the natural environment on their canvases.

What kind of landscape painters do you know?

(Viewing reproductions of paintings by Levitan, Shishkin, Polenov, Savrasov, etc.)

The landscape can be drawn from life, or you can invent it yourself. It is better to paint a landscape with paints (watercolors or gouache), because depending on the color scheme, you can easily depict any time of the year, natural phenomena, the state of the weather. In this case, do not forget about the three main laws in the image of the landscape: the horizon line, near and far plans.

Let's remember: what is the horizon line? Foreground? Back (distant) plan?

Mark the background with a line on a sheet of white paper. The background usually depicts the sky, hills, small trees, all objects of a small size, without drawing specific details.

Draw objects of a larger size a little lower than in the background. And the largest objects in the figure are depicted in the foreground, drawing even the smallest details on them.

Placing individual images of nature side by side, we emphasize them by distinguishing in size, thus, we convey space (aerial perspective) in the drawing. To make the landscape more interesting, it is better to draw more colorful trees of different species (birch, oak, spruce, pine, etc.), alternating them with various herbs and bushes. It is nice to complement the picture with the image of birds and animals.

Orally we got acquainted with the landscape, learned the basic laws in the depiction of this genre of fine art. And now we are faced with the main task - to draw the landscape correctly and beautifully.

To do this, each of you must mentally imagine yourself as a landscape painter. Let's close our other eyes for a second and draw a picture of nature in our head (favorite season, a colorful corner of our homeland, etc.)

Have you presented? Take pencils in hand and create our own picture called "landscape".

Practical work.

In the process of work, children use the techniques of drawing with lines, painting over a picture, mastered in the lesson. In the middle of the lesson, the teacher conducts a physical education minute.

The bottom line.

At the end of the work, when all the drawings are completed, a mini-vernissage is held - an exhibition of completed works. We arrange viewing and discussion of finished landscapes, analyzing all the "pros" and "cons".

Individual educational route as a step towards self-determination of students in a creative association.

The appeal to the processes of self-knowledge, self-expression of the child is ensured by his inclusion in the activity. Social experience, additional information acquired in institutions of additional education for children, not only enhance the general culture of a person, but also help in choosing a future profession.

The main advantage of additional education is to provide each student with the freedom to choose their educational trajectory for a more targeted development of individuality, to help achieve success.

Building an individual educational route is a technology of individual work, involving the assistance of a child from a teacher. The advantages of the technology of an individual educational route are that it stimulates the maximum disclosure of the abilities and creative possibilities of the individual. Students make independent decisions that prepare them for adulthood.

The interpretation of an individual educational route assumes to go from the possibilities that the child has; teach him taking into account the potential opportunities that need to be developed, improved, enriched.

In the educational route of each student in the additional education of children, three levels can be conditionally distinguished. Moving from one level to another is not so much the accumulation of a certain amount of knowledge, but the personal growth of each child in comparison with himself.

First level:

The personal growth program is aimed at helping the student "get used to" in the environment of this association, try himself in a variety of activities, feel successful, and develop cognitive interest. At the same time, the work of the teacher is aimed at identifying the characteristics of the child, drawing up an individual educational route together with the students.

Second level:

The program is aimed at providing him with the widest possible opportunities for moving along the individual educational route chosen by him on the basis of the data about the student obtained at the first level. The main part of the teacher's work is tracking the effectiveness and correcting the child's passage of the educational route.

Third level:

The program is aimed at creating conditions for the implementation of the abilities and capabilities of each student in the life of the association, the development of more in-depth and expanded educational material, and the performance of independent work. The experience gained during the previous levels allows children to develop and implement their own mini-projects in practice: educational, research, socially oriented, etc .; contributes to the conscious choice of students of the future profession.

The choice of a profession and the child's professional readiness presuppose motivational, behavioral, emotional readiness and a high level of orientation towards success.

In the creative association "IZO" of the House of Children's Creativity, students learn the elementary skills of drawing and painting, study the properties of various colors, try to combine materials of different textures, get acquainted with collage, miniature painting, various non-traditional techniques, try their capabilities in arts and crafts, in the manufacture of souvenirs ... The training in the association is based on a step-by-step process, each stage of which gives its own result. The success of each subsequent stage is based on the achievements of the previous one. The content of the educational program is developed taking into account the age and individual characteristics of students, their interests. Depending on this, all methods of creative activity are used: reproductive, partial search and creative. The lessons of the creative association are structured in such a way that theoretical and general practical skills are given by the teacher to the entire group, further work is carried out by students independently and with the teacher's recommendation. The program is designed for 3 or more years of study and is designed to educate children from 5 to 18 years old who want to acquire artistic skills. Since the academic year, a group of high school students has been opened to teach the fine arts for the purpose of professional self-determination. During this time, 9 of our graduates entered secondary specialized and higher educational institutions. Of these, Toporikova Natalia and Salnikova Marina.

For example, Natalia Toporikova, studied at the Children's Art Association "Fine Arts" of the House of Children's Art since 2002. During her studies, she proved to be a talented creative person.

Natalia got acquainted with various drawing and painting techniques, arts and crafts, collage, modeling with great interest. She loved to experiment, combining several techniques in her work at once, she was gladly interested in design novelties. Therefore, it became necessary to create an individual educational route for her. When compiling this route, the individual characteristics of the student were taken into account. Natasha is distinguished by high efficiency, a great desire to learn everything, to try herself in different directions, and talent.

An important feature of classes with her was the provision of the student to participate in creative competitions at various levels. Natasha gladly took part in regional, regional, All-Russian and international competitions of children's drawings, exhibitions of arts and crafts, annually winning prizes, which are confirmed by certificates, diplomas, letters of thanks.

The work with Natasha was carried out taking into account her interests. The techniques and techniques of her visual interest were studied in more depth. Much time was devoted to creating works based on their own composition, developing non-standard solutions in a particular genre of fine art. Conversations were held aimed at choosing a future profession.

Upon graduation from the creative association "IZO", a personal exhibition of Natasha's works was organized. In 2010, she successfully entered the Kostroma Technological University at the Fashion Design faculty, where she continues her professional training.

Salnikova Marina also studied in the art association of Fine Arts for several years. She came to the House of Children's Art as a modest girl with a great desire to learn how to draw well. Marina is distinguished by great diligence, diligence, very attentively listens to the teacher, trying to remember every detail. But unlike Natasha, she was hampered by timidity and uncertainty. Therefore, an individual educational route for Marina was designed taking into account her needs. And it paid off. Marina as well as Natasha, participating in various drawing contests, art exhibitions, has many awards.

In 2010, Marina entered the Faculty of Art and Graphics at the Kostroma State University. In 2009, the first personal exhibition of her works was organized. In 2012, at the City Day celebrations, Marina exhibited independently. In March 2012, Marina was awarded a 1st degree diploma at the XV Scientific Conference of Young Researchers “Step into the Future”.

Thus, a well-designed individual educational route helped the girls in professional self-determination.

Additional education teacher

MODIFIED CONTOUR DRAWING.

Before learning how to apply modified contour drawing, we will get acquainted with the modes of operation of the brain. There are 2 modes of operation of the brain: L - mode and P - mode.

L - mode - "right-handed" mode of operation of the left hemisphere of the brain. "L" is rectangular, straightforward, straightforward, reasonable, truthful, well-defined, devoid of quirks, full of strength.

P - mode - "left-handed" mode of the right hemisphere of the brain. “P” is meandering, flexible, playful and full of unexpected twists and turns, complex, diagonal, quirky.

L - mode:

Verbal (use of words for a name, description, definition);

Analytical (comprehending things step by step, part by part);

Symbolic (using symbols to denote anything);

Abstract (using a small piece of information to represent the whole thing);

Time (taking into account the passage of time, the sequential alternation of things: the first action is always the first, the second - the second, etc.);

Rational (conclusion of inferences based on reasoning and facts);

Digital (using numbers like counting);

Logical (inference of conclusions based on logic: one thing follows from another in a logical order);

Linear (thinking within the framework of interrelated ideas, one thought immediately follows another, often leading to a general conclusion).

P - mode:

Non-verbal (understanding things with maximum connection with words);

Synthetic (connecting things together, forming holistic pictures);

Concrete (attitude to things as such, as they are at the moment);

Analog (noticing similarities between things; understanding metaphorical connections);

Timeless (no sense of time);

Irrational (not requiring reasoning or facts);

Spatial (marking the relative position of things and how the parts form the whole);

Intuitive (making leaps of understanding, often based on incomplete information, guesswork, feelings, or visualizations);

Holistic (seeing all things at once as a whole, revealing common characteristics and structures, often leading to different conclusions).

The process of learning to draw creates a lot of conflicts in thinking, especially drawing from life.

Since drawing the observed shape is mainly a function of the right hemisphere of the brain, we must exclude from this process the intervention of the left hemisphere. The problem is that the left hemisphere of the brain is dominant and fast-acting and is very prone to interfere with the processes with its words and symbols, even taking on work that is not very suitable for it. In order to draw the observable shape, you need the left hemisphere to be mostly “off” and the right hemisphere “on”. This combination results in a slightly altered subjective state in which the right hemisphere becomes "dominant". The characteristic features of this subjective state are the very sensations that the artists talk about: a feeling of close "merging with work", a feeling of the disappearance of the passage of time, difficulty in using and understanding words, a feeling of self-confidence and lack of anxiety, a feeling of being bound to forms and spaces which remain unnamed. It is important to learn how to make the transition from one mode to another - from one, verbal - analytical state to spatially - non-verbal. To do this, there are special exercises designed to give the brain a task that the left hemisphere either cannot or does not want to do. One such exercise is the contour-modified drawing method.

Drawing instructions:

1. Provide yourself half an hour of time during which no one bothers you.

2. Sit comfortably at the table; tape the paper to the table so that it does not move. You need to draw your own hand - left if you are right-handed, or right if you are left-handed. Position yourself so that the hand holding the pencil is comfortable to move along the fixed paper.

3. Set your hand to some difficult position - fingers are twisted, bent in the form of pincers, intertwined, clenched into a fist - whatever. A complex hand position is better for our purposes than a simple open, open hand, because the right hemisphere prefers complexity.

4. As soon as you start drawing, in any case do not change either the position of your hand or the position of your head, ie, do not tilt your head to see any part of the hand that may be hidden from view. Keep the same single position all the time. We only need one plan, not many. Otherwise, your drawing will be distorted.

5. When preparing to paint, keep your eyes on your hand. This will initiate the switching of consciousness into P - mode. Imagine vertical and horizontal lines next to the hand. Determine the value of any angle relative to a vertical or horizontal line. Now look at a piece of paper and imagine that this corner is drawn on the paper. Choose some space, such as between your fingers. Look closely at this space until you see the edge of this space where it meets the edge of your finger. Try to feel how your mind switches to P - mode.

6. Fix your gaze at any point on the contour. Determine the angle relative to the vertical or horizontal. As your eyes move slowly along the outline, the pencil also slowly draws the outline on the paper. Move from one path to the next. Do not try to draw full outlines in order to paint the inner shapes later. It is much easier to move from one shape to the next. Your pencil will register all edges, distinguishing every slight change in direction and waviness in every outline. This is a wordless process.

Don't talk to yourself. Don't name details when drawing. You only work with visual information; words are not needed. There is no need to try to figure something out logically because all the visual information is right in front of your eyes. Focus on what you see without words feeling how long one part is compared to the other how wide one part is compared to what you just drew how steep is one corner compared to the other and where one outline appears to emerge from the one you just drew ...

7. Remember that everything you need to know about your hand in order to draw it all the information required for perception is right in front of your eyes. For your work, you just need to transfer your observations to paper in the form of strokes, which are a record of observations. Thinking is unnecessary to do this. Since you only need to feel, notice and write down what you see, the drawing will seem easy and you will work confidently at ease and enthusiastically fascinated by how all the pieces fit together like a perfectly matched composite picture - a puzzle.

After you finished drawing, once again comprehend the drawing methods that you used, what you felt in the right brain state of consciousness, how you slipped into this state by consciously creating conditions that facilitate the transition.

This first drawing experience of yours can reveal errors in the perception of the proportions or ratios of angles.

Drawing is a holistic skill that requires the coordination of many techniques. With the help of such exercises, in a short time, these techniques will become automatic.

Speech at a seminar for teachers of additional education.

Nikandrova Elena Alexandrovna.

THE ROLE OF IMAGING ACTIVITIES

IN THE GENERAL MENTAL DEVELOPMENT OF A CHILD.

A child cannot live in disorder. Everything that the child sees is trying to put in order

to see the natural relationships in which such a fickle surrounding world fits. Building a picture of the world, the child invents, depicts his theoretical concept.

The child has primary ethical instances: "What is good and what is bad." These ethical instances grow alongside ethical ones: "Beautiful cannot be bad."

Such personality traits as persistence and ability to overcome difficulties are formed; there is also a sense of duty towards other people. Arbitrary behavior occurs, which is mediated by a certain representation. Based on the formation of voluntary behavior, the child develops a desire to control himself and his actions. He strives to carry out socially significant and socially valued activities. there is an awareness of the possibilities of his actions, he begins to understand that he cannot do everything (the beginning of self-esteem).

Speaking of self-awareness, they often mean awareness of their personal qualities (good, kind, evil, etc.)

A child's drawing is by no means an image of a particular perceived object. The child depicts what he knows about the object, not a directly perceived pattern.

Children's art is expressionistic in nature - the child depicts not what he sees, but what he experiences. Therefore, a child's drawing is subjective and often incomprehensible to an outsider.

To understand a child's drawing, it is very important to investigate not only the product, the drawing result, but also the process of creating the drawing itself.

For a child, the product of visual activity plays a secondary role. The process of creating a drawing comes to the fore for him. Therefore, children draw with great enthusiasm. Small children depict little on paper, but they talk and gesture a lot.

By the age of 4 - 5, two types of draftsmen are distinguished: those who prefer to draw individual objects (they mainly develop the ability to depict), and those who are inclined to unfold the plot, narration (their image of the plot in the drawing is supplemented by speech and acquires a playful character). All children are divided into “communicators” and “visualizers”. For the former, the process of drawing is always included in the game, in dramatic action, in communication; the latter focus on the drawing itself, draw selflessly, not paying attention to the environment. This opposition can be traced further in the classroom. children inclined to the plot-play type of drawing will be distinguished by their vivid imagination, the activity of speech manifestations. Their creative expression in speech is so great that the drawing becomes only a support for the development of the story. The visual side of these children develops worse, while children, focused on the image, actively perceive the objects and the drawings they create, take care of their quality. They have a predominant interest in the decoration of the image, that is, in the structural side of their works.

Knowing these features of the development of visual activity, we can purposefully

Lead the creative manifestations of children. we can direct some to the plane of the drawing and show others how the image is connected with a game, a fairy tale, and drama.

Visual activity, like a game, allows you to more deeply comprehend the subjects of interest to the child.

However, it is even more important that as the child masters the visual activity, an internal ideal plan is created, which is absent in early childhood.

A child's drawing should be viewed as a transition from symbol to sign. The symbol has a similarity to what it stands for, the sign has no such similarity. Children's drawings are symbols of objects, they resemble the depicted one, the word has no such similarity, so it becomes a sign. Drawing helps the word become a sign.

From a psychological point of view, we should consider drawing as a kind of children's speech. Drawing a child by psychological function is a kind of graphic speech, a graphic story about something. Children's drawing can be viewed as a preparatory stage in writing.

Drawing is done by a child with a certain material, and each time the embodiment of the idea is carried out with the help of different visual means, in different material. The products of visual activity are not just symbols that represent an object, they are models of reality. And in the model every time some new characteristics of reality appear.

The development of perception in preschool age is based on the assimilation of standards and measures.

An important function of children's drawing is the expressive function. In the drawing, the child expresses his attitude to reality, in him you can immediately see what is main for the child and what is secondary. Emotional and semantic centers are always present in the drawing. Through the drawing, you can control the emotional and semantic perception of the child.

Speech at the methodological association of teachers and teachers of additional education in teaching the fine arts.

TOPIC: “GAME AS ONE OF THE COMPONENTS OF THE LESSON.

USE OF GAMES IN SPECIFIC LESSONS

FINE ARTS ".

Play is the leading type of activity for a child of preschool and primary school age. The game belongs to the symbolic-modeling type of activity, in which the operational and technical side is minimal, operations are reduced, objects are conditional. However, play makes it possible for such an orientation in the external, visual world that no other activity can provide.

Play is a special form of mastering reality through its reproduction, modeling.

Play is a leading activity, it gives the child the opportunity to interact with such aspects of life that a child cannot enter into in real life. In addition to playing in visual activities in preschool and primary school age, perception of a fairy tale also becomes a special activity. The fairy tale is the literary genre most loved by children. The perception of a child differs from that of an adult in that it is a detailed activity that needs external support.

The nature of the child's artistic perception is empathy, mental assistance to the hero of the work. Empathy is similar to the role a child takes on in play. the use of fairy tales and games in the classroom is as follows: all children and the teacher take different names for themselves depending on the topic of the lesson. For example, the teacher is Snow White, and the children are Dwarfs (each with its own name); or children are forest monsters (Leshy, Kikimora, Cat Bayun, etc.), and the teacher is Baba Yaga. Taking the name of the fairytale hero, the child assigns his characteristic features, forgetting, perhaps, about his timidity, shyness, shyness or rudeness.

On the basis of play activities, a number of psychological neoplasms are formed in a child. This is, first of all, imagination and the symbolic function of consciousness, which allow the child to carry out in their actions the transfer of the properties of some things to others. On this basis, a person forms the general meaning and nature of human relations.

One and the same game in the classroom can act in several functions:

1. Learning function - development of general educational skills and abilities, such as: memory, attention, perception of information of various modality.

2. Entertainment function - creating a favorable atmosphere in the classroom.

3. Communicative function - uniting the collective of students, establishing emotional contacts.

4. Relaxation function - removal of emotional stress caused by stress on the nervous system during intensive training.

5. Psychotechnical function - formation of skills for preparing one's physiological state for more effective activity, restructuring of the psyche to assimilate large amounts of information.

WHAT DOES THE USE OF THE GAME GIVE IN SPECIFIC ACTIVITIES?

1. Figurative memory.

We read a fairy tale prepared for illustration. Trying to imagine the text as a frozen dumb scene. Each of the children can depict a detail of this text. Then we reunite the individual objects into a coherent composition. After this exercise, students can easily convey their mood, create their own motive on a piece of paper.

2... Visual memory.

During the cycle of lessons devoted to the image of a person, the following exercises are effective.

We carefully look at the presenter (any boy or girl), then close our eyes, and change the appearance of the child (unfasten the button on the clothes, ruffle the hair, roll up the sleeve, etc.), opening their eyes, the children should notice all the changes in the appearance of the child.

3. Tactile image.

Children stand in two lines, one after the other, breaking into pairs. Those standing in the second rank draw some image on the back of their partner with their fingers (a cat, an airplane, a tree, etc.). the partner must determine what is drawn. If he guesses correctly, the couple takes a step forward. Everyone draws at the same time.

4... Colors.

In one minute, you need to come up with five objects of the color that the presenter will name. Who is faster.

5. Playing with the subject.

The leader (teacher) chooses any small object: an umbrella, a pen, a ruler, a scarf - and puts it in a circle. From now on, this object can play the role of anything, just not howling its own. Each player must present him with some other object and briefly beat him (perform actions with this object). For example: a pen - a thermometer (shake, measure the temperature). Then transfer to a neighbor, and he shows his imagination and acting talent.

6. Development of observation, memory, communication skills.

Game "Artist".

Two children are selected from the group of children. The rest of the children are observers. One of those chosen is an "artist", the other is a "customer" who orders his portrait from the "artist". The "artist" looks closely at his "customer" (1 - 2 minutes). Then he turns away and describes the appearance of the "customer" from memory.

Game "Shadow".

Calm music sounds. Two children are selected. One is a "traveler", the other is a "shadow." The "shadow" tries to accurately copy the movements of the "traveler".

7. Removal of tension, neurotic states, fears.

Game "Catch the dragon's tail".

Cheerful music sounds. Children stand behind each other and firmly hold on to the shoulders in front of the one standing.

The first child in the chain is the "head" of the dragon, the last one is the "tail" .. The "head" tries to grab the "tail", and the "tail" dodges it.

8... Development of imagination.

Game "Take and Pass".

Children sit on chairs in a circle and pass imaginary objects to each other, naming them. eg. "Heavy suitcase", "balloon", "crystal vase", etc.

9. Removal of aggression and fears, development of imagination.

Game "Blots".

We take several colors of paint (ink is possible), with a brush we make arbitrary strokes so that the entire sheet is filled, then we make an imprint on another sheet. Then it is necessary to understand who or what the resulting "blot" looks like (the print can be obtained by folding the sheet in half). Aggressive or depressed children choose dark colors. They see aggressive stories in the "blots"

(fight, scary monsters). Through the discussion of the "scary picture", the child's aggression goes outside, thereby he is freed from it. It is useful to put a calm child with an aggressive child. The latter will take light colors for drawings and see pleasant things. By communicating with a calm child on the subject of "blot interpretation", the aggressive child calms down.

NOTE.

1. Children inclined to anger choose black or red paint.

2. Children with low mood choose lilac or lilac tones (colors of sadness).

3. Gray or brown tones are chosen by children who are tense, conflict, disinhibited (addiction to these tones suggests that the child needs to be reassured)

4. Situations are possible when children choose colors individually and there is no clear connection between color and the child's mental state.

Speech at the RMO

foreign language teachers

Creation of a personality-oriented educational system aimed at the formation of a socially and creatively active personality.

Nowadays, the idea of \u200b\u200bstudent-centered education is very relevant. This means that the teacher abandons the authoritarian, instructive-reproductive nature of teaching in favor of a democratic, search-creative one. At the same time, the implementation of the pedagogical process, personally significant for each student, remains one of the most acute problems of education.
A school with a student-centered orientation creates equal starting conditions for each child, regardless of the level of his actual development from the moment he enters the school. This is an adaptive multidisciplinary school, in which, through the organization of a single for all, but heterogeneous educational environment, conditions are created for the internal differentiation of each student based on the study of his personal manifestations; defining an individual educational trajectory that promotes the manifestation of cognitive interests and needs, personally significant values \u200b\u200band attitudes.
Ideas and principles, psychological and pedagogical foundations of student-centered learning, were developed by I.S. Yakimanskaya - the most attractive for solving problems of the development of the student's personality, disclosing their individuality through learning. IS Yakimanskaya - Doctor of Psychology, Professor, Full Member of the International Pedagogical Academy and the New York Academy of Sciences, Head of the Department “Designing Personality-Oriented Education in Secondary Schools” of the Institute of Pedagogical Innovations, Russian Academy of Education.

According to the concept of student-centered learning, each student is an individuality, an active subject of the educational space, with his own characteristics, values, attitude to the world around him, and subject experience. In the conditions of a personality-oriented approach, each student for the teacher appears as a unique phenomenon. The teacher helps each student to realize their potential, achieve their learning goals and develop personal meanings of learning.

The model of student-centered learning meets the principles of conformity to nature, cultural conformity, individual-personal approach, and also implements the principles of humanitarian education, which contributes to the development of imaginative perception and creative thinking, the formation of an emotional-personal attitude to learning.

LOO is a methodological orientation in pedagogical activity, which allows, through relying on a system of interrelated concepts, ideas and methods of action, to provide and support the processes of self-knowledge, self-realization of the child's personality, the development of his unique individuality.

Personally oriented learning is:

      recognition by the teacher of the priority of the individual over the team;

      the creation of humanistic relationships in the classroom, through which each child realizes himself as a full-fledged person, learns to see and respect the person in others;

      recognition by the teacher that the student has certain rights that are sacred to the teacher;

      refusal of the teacher from dividing children into “strong” and “weak”, realizing that all children are different, and that everyone knows and can do something better than others;

The development of the student's abilities is the main task of personality-oriented pedagogy, and the "vector" of development is not built from teaching to learning, but, on the contrary, from the student to the definition of pedagogical influences that contribute to his development. The entire educational process should be aimed at this. The effect of creating and managing student-centered learning depends not only on the organization, but to a large extent on the individual abilities of the student as the main subject of the educational process. This makes the design itself flexible, variable, multifactorial. Designing a student-centered learning system involves:

Recognition of the student as the main subject of the learning process; determination of the design goal - the development of the individual abilities of the student;

Determination of the means to ensure the implementation of the goal
by identifying and structuring the student's subjective experience, its directed development in the learning process.

The implementation of student-centered learning requires the development of such a content of education, which includes not only scientific knowledge, but also meta-knowledge, i.e. techniques and methods of cognition... It is important to develop special forms of interaction between participants in the educational process (students, teachers, parents). You also need special procedures to track the nature and direction of the student's development; creation of favorable conditions for the formation of his personality; a change in the ideas that have developed in our culture about the norm of the child's mental development (comparison not horizontally, but vertically, that is, determining the dynamics of the child's development in comparison with himself, and not with another). To implement a model of student-centered learning in school is necessary; first, to accept the concept of the educational process not as a combination of training and education, but as the development of individuality,
the formation of abilities, where training and education organically merge. Secondly, to identify the nature of the relationship of the main participants
educational process: managers, teachers, students, parents. IN-
third, to determine the criteria for the effectiveness of the innovativeness of the educational process.

The main principle of creating a personality-oriented educational system of education, as noted above, is the recognition of the individuality of the student, the creation of the necessary and sufficient conditions for his development.

The goal of a personality-oriented lesson is to create conditions for the disclosure of the student's personality, for the manifestation of the cognitive activity of students. The means of achieving it are:

    Using a variety of forms and methods of organization learning activitiesallowing to reveal the subjective experience of students; creating an atmosphere of interest for each student; stimulating students to speak out, use various ways to complete assignments without fear of making mistakes, encouragement and other positively directed communicative influences;

    Use of material in the lesson that allows the student to show their subjective experience;

    Assessment of the student's performance not only by the result (right or wrong), but also by the process of achieving it;

    Encouraging the student's desire to find his own way of solving the problem, analyze it in others, choose and master the most rational;

    Creation of pedagogical situations in the lesson, allowing each student to show initiative, independence, creating an environment for natural self-expression of the student.

Person-centered learning is designed to adapt the classroom-lesson system to the capabilities and needs of each student, and is aimed at resolving the main contradiction of the traditional school associated with the group form of organizing training and the individual nature of the assimilation of knowledge, skills and abilities by each student.
The criteria for the effectiveness of a student-centered lesson are:

    The teacher has a curriculum for the lesson, depending on the readiness of the class;

    Use of problematic creative tasks;

    Application of knowledge that allows the student to choose the type, type and form of material himself;

    Creation of a positive emotional mood for the work of all students;

    Discussion with the children at the end of the lesson not only about “what we learned”, but also what they liked (disliked) and why;

    Encouraging students to choose and independently use different ways of completing assignments;

    Assessment during the questioning in the lesson not only of the correct answer of the student, but also the analysis of how the student reasoned, why and where he was mistaken;

    The mark given to the student at the end of the lesson must be reasoned according to a number of parameters: correctness, independence, originality;

    When assigning homework, not only the topic and scope of the assignment is called, but it also explains in detail how to rationally organize your study work when doing homework.

Conscious learning is based on a person's ability to productive (creative) imagination and thinking, without which neither successful learning nor self-learning is possible.

So, in order to make the learning process personality-oriented, it is necessary: \u200b\u200bto recognize the right of every child to self-worth, individuality, the desire to independently acquire knowledge and apply it in various and interesting activities for him. For the future school, there is no alternative to student-centered education, because it is it that becomes the textbook of life, a tool for solving life problems and personal growth.

In a student-centered lesson, that educational situation is created when not only knowledge is presented, but also the personal characteristics of students are revealed, formed and implemented. In such a lesson, an emotionally positive attitude of students to work prevails.

The teacher not only creates a welcoming creative atmosphere, he recognizes the originality and uniqueness of each student.

Within the framework of LOO, independent technologies can be distinguished: multilevel training, collective peer learning, modular training, project method technology, game and information and communication technologies, cooperation technology. In their work, the teaching staff actively uses the main technologies in the LOO system:

    Multilevel learning technology

    Game technology

    Information and communication technologies

    Technology of project activities

    The personality-oriented orientation of the entire pedagogical process provides optimal starting opportunities for each graduate. Thus, in order to prepare schoolchildren for an independent life, it is necessary, as far as possible, to create at school all conditions for the active participation of students in various types of activities, to transfer children to the position of subjects of cognition, work and communication, since activity is a link between the individual and the objective world, and through it, a person, changing the world, changes himself.

The teaching staff works according to the principles of humanistic psychology: full acceptance of each child, respect and respect for his personality.

Person-centered learning is a kind of learning that puts the child's identity, self-worth, subjectivity of the educational process at the forefront. It presupposes the active involvement of the child in the process of cognition and is aimed at his development at all stages of education with the aim of promoting students to a higher educational level. The main thing in student-centered learning is to create a situation of success. In addition, you must remember:

    thinking ability is formed and manifested in activity;

    the child does not get tired of work that meets his functional life needs, he loves both individual work and work in a team, where the spirit of cooperation reigns;

    no one - neither an adult nor a child - likes to be ordered;

    it is necessary to ensure that work becomes motivated;

    upbringing is based on the dignity of the individual, mutual respect of the teacher and student.

And I want to end my speech with the words of A. Disterweg: “A bad teacher presents the truth, a good one teaches to find it”.

Performance

at the district methodological association

senior preschool age.

Topic: "Development of communication skills

preschoolers through play activities "

Form of conducting: seminar - workshop.

Performed : music director

MADOU CRR "Fairy Tale" Kosarenkova N.A.

2014 year

A child's ability to communicate positively allows him to live comfortably in a society of people. Thanks to communication, the child not only gets to know another person (adult or peer), but also himself.

Observing modern children who attend kindergartens, we increasingly note the inability of children to communicate with each other. Moreover, many of them suffer from speech impairments, cannot fully express their thoughts, emotions, and as a result feel constrained.

Increasingly, children like to play on their own, in isolation from others. Many peers do not accept in their games, there are children who know how to communicateonly with adults.

Without understanding another person, without taking into account his interests and needs, joint activity, full-fledged communication with peers is impossible.

Among the problematic forms of interpersonal relations, the following were identified:

Aggressiveness;

Touchiness;

Shyness;

Closure;

Demonstrativeness.

The properties that unite these forms are the inability to see and understand the other, the inability to communicate, sometimes even just make contact with other children, with an adult.

What is communication?

Let's give a scientific definition of the concept of communication, which is fixed in the Linguistic Encyclopedic Dictionary: “Communication - a specific form of interaction between people in the process of their cognitive and labor activity. " The concept of "communication" is the so-called "Russian product", practically coincides with the concept of "communication".

Main components (sides):

1. The communicative side of communication (exchange of information between individuals)

2. Interactive side (organization of interaction between individuals)

3. Perceptual side (the process of perceiving each other by partners in communication and establishing mutual understanding)

In the process of communication, there are:

Verbal communication communication, which is carried out through speech.

Non-verbal , which includes:

  • Visual (gestures, facial expressions, postures, eye contacts)
  • Acoustic (tone of voice, range, tonality, pauses, coughs, laughter, crying, etc.)
  • Tactile (stroking, touching, shaking hands, hugging, kissing)
  • Olfactory (pleasant and unpleasant natural human smells).

In communication, the following stages can be distinguished:

  • Establishing contact
  • Situation orientation
  • Discussion of the issue, problems
  • Decision-making
  • Leave contact.

Our task with you is to contribute to the development of the following communication skills:

  • Ease of establishing contact
  • Keeping the conversation going
  • Listening skills
  • Ability to express your own point of view
  • Ability to argue and defend your position
  • Ability to come to a compromise solution.

Games for the development of communication skills.

Psychological games

Purpose: improving the psychological status and rallying the children's team

Your virtues.

Children sit in a circle and talk to the neighbor on the right about his merits. The one to whom they turn answers: “Yes, I have it. But Tanya has ... ... "

We give good

Option 1 - Children sit in a circle and give good wishes (clockwise): "I wish you ... Let my mother buy ..."

Option 2 - Children give kind words and pat each other on the head. (action in a circle clockwise)

Finger games

Exercise "Grandma has arrived"

Exercise "Finger's Birthday"

My birthdayi Pointer. finger bows

Come all friends "Calling"

Hello finger, did you call us?

I called! "Bows"

Did you invite us to visit? The fingers of the other hand "bow"

Invited! "Bows"

Hello my dear guests! "Beckons"

Come on in! Come on in!

Don't go anywhere! From stopron to side

I'll come to you now and amuse you all... Rotation of the entire brush.

Exercise "Call":

“Came home and rang the doorbell:“ Ma-ma ”(loudly). I came.

Exercise "Mama cooks porridge" (mom-hare, bear, etc. and carrot porridge, honey)

Mom cooks porridge, malasha porridge

I added sugar, sprinkled with salt

Delicious porridge, malasha porridge.

With gonziks, pronounce any tongue twister by syllable.

Eye contact games "Peer views"

Standing in a circle, we look for a couple with a glance, as soon as we find we change places. Further, with complication - pretzels, birch, greetings, scarecrows, jokes.

Tactile contact games

Exercise "Come here" (children stand up in pairs)

Come here - beckon with your index finger

I ask you - on the shoulder of the interlocutor

Or here - beckon

I'll tell you a secret - on the shoulder

Shu-shu-shu, - Palm to the ear of a comrade

Yeah shee-shee-shee

The kids have changed - they are looking for a mate

(the last time the kids hugged)

What's in the hump?

Children are "a little train".

Exercise Fish (hands behind the back)

CAN BE PERFORMED IN PAIR

Once one fish came out of its house and began to look for a girlfriend. Swam one way, swam the other way. Swam up, ... down ... I didn't find my girlfriend and swam to her house.

Another girlfriend came out (the same) ...

And then both fish swam out of the house and met ... (both hands are involved) ... and greeted

Hello fish!

Hello fish!

The girlfriends began to dance, swim, play. Swam up, down, right, left. They swam together and got tired together (on the chest), lay down, rested, waved their tail and swam into the houses.

The game "Fish - fish"

Music sounds, all children are fish. ... Music dies down looking for a couple. Some remain fish, while others remain pebbles. The stones sit down and sit, hugging their knees.

Everybody says the words:

Fish, fish, everyone is good

Dads and mothers and kids ... (music sounds, the fish start to swim, the music dies down, the fish sit down near the pebble. They stroke it on the back and say the words :) “The nicest, dearest, most beloved, pebble is mine! I’ll sit for a while, sleep next to you. (hugs). And at night there was a transformation. (change roles)

Attention game "Rybka"

____________ (left arm raised horizontally at chest level) - shore

The right hand performs wave-like movements - the fish swims

Jumps over water - children clap

The fish hides behind its back - children ask "Where are you?"

Ranged to the shore - Ay-ay-ay!

Frozen at the top - Shoo! And stamp your foot.

Sunbathing on the shore - Wow!

GONZIKI

One foot 1,2,3,

Another foot 1,2,3,

Third foot 1,2,3,

Wave the fourth.

Run to the right together

We ran to the left together

And a little tired.

Mosquitoes

We step, we step

Raise our legs together

We sat for a while

turned the head

They pushed off, flew.

Friends talking.

  • Hello friend, what were you doing?
  • I was looking for flowers in the forest.
  • Found some flowers?
  • No, I haven't. I came to you for help.
  • I, friend, will not help you. And I won't find flowers. Because all the flowers have long gone to sleep.
  • Winter is in a hurry, it will bring snow with it
  • What a pity, we'll have to wait. Spring will come - I'll go look.

Exercises with beads. Teamwork.


Moral education of children of primary preschool age

through the artistic word

Younger preschool age - from two to four years - is an important period in the moral development of children. At this age stage, babies are actively developing the first elementary ideas about good and bad, behavioral skills, good feelings for the adults and peers around them. This happens most successfully under conditions of favorable pedagogical influence of the kindergarten and the family. Those moral feelings, ideas and skills that will be formed in children at this age, the moral experience that they will accumulate, will form the basis of their further moral development.
That is why one of the main tasks of educating children of primary preschool age is the formation of independence in everyday life, in the game, in the classroom. Children should be taught to do what they can do for themselves, according to their life experience. Having acquired independence, the child can no longer only serve himself (wash, undress, neatly fold clothes, dress, eat), but also get the opportunity to maintain order in the environment (put toys, books in place), follow a number of rules without resorting to help , i.e. manage your behavior.

In each child's activity, I create certain conditions for solving the following tasks:

- in Game -the formation of skills in relationships, moral feelings.

in cultural and hygienic moments -benevolence, helping others, respect for elders.

The day starts with "Good morning". I give my good mood to children, I teach them to greet each other and adults, while using quotes from songs, poems:

- “Early in the morning the kindergarten greets the kids, there are toys waiting for the kids in the corner, bored ...

- "I woke up at home in the morning, I'm going to kindergarten

Hello blue sky, hello golden sun ... ".

Hearing the artistic word, I see a smile on the child's face and a return greeting: "Hello."

To organize the children for morning exercises or directly - educational activities, physical activity, to form the skill of taking care of their own health, I hum: "Get ready for exercise, get started ...", after it ends I ask: "Is your health ok? Thank you charging? Children answer: "Thank you, exercise!"

In the process of washing, children help other children who find it difficult to roll up their sleeves, hang up a towel, or hand over soap. I explain that if they washed their hands in bad faith, then the towel becomes dirty, and this is disrespect for the work of the elders and you will look like the hero of the poem and Demyanov "Crumpled hands did not wash ...". After that, the children calm down in the washroom, do not spray water on the floor, i.e. respectfully treat the work of the assistant educator.

During a meal, it happens that children are distracted, talk, and hold the cutlery incorrectly, crush bread on the tablecloth, refuse to eat, get naughty, and then I have such quatrains that help to correct negative manifestations:

“I will remind you of one thing:

do not play around at the table,

it's time for everyone to learn

eat with a fork

eat, not do like Antoshka.

You do not know?

At the table you have to eat with your mouth closed,

Don't rush, don't speak

Don't litter crumbs on the floor. "

“Friends are eating at the table,

You can't play around here!

And you eat - you are free,

And play as you like! "

Play is an activity where children show their attitude to other children, toys, adults. For the formation of attachments, a caring attitude to toys, we use A. Barto's poems "Toys".

"And now let's get down to business together

You need to remove toys

Do not drop or break

And to clean the place "

I remind the children of the rules: "I played with a toy myself, let someone else play."

"Lisa played with a doll

The doll tore the dress.

Dima took the machine and disassembled it in half.

Danil found a small ball

This ball is pierced.

And when the designer took

I lost all the details!

Than to play others now

No, don't you have to be like that?

You take care of toys and carefully store them! "

It happens that during games such situations arise when children cannot agree, give each other a toy. We suggest using different short rhymes to resolve a dispute. Sometimes children do not want to reckon with other children, impose their own demands, while conflicts occur, children tease, fight, offend each other. I intervene again with a poem:

“Fists get in the way in an argument,

They don't solve problems!

The brawler did not try to understand

Just a little - he immediately fought with someone.

And now one is sitting

Sighs heavily and is sad

Nobody plays with him anymore

He is not invited to his place.

It's simple if you figure it out:

You don't need to fight with your friends "

Children react to poetry differently than to prose. After this poem, children comprehend their negative actions and draw conclusions.

Thus, influencing the feelings of children, we cause them to strive to imitate a specific person, and this puts them in front of the need to fulfill the moral norms of friendly joint play. They begin to understand that to play together means to take good care of their comrades, to stand up for those whom they offend. I remind the children of the proverb: "One for all - and all for one." I teach children to help those who have difficulties, to be able to support a good initiative of their peers, to be able to give in, ask politely for a toy, and follow the order in the game.

Municipal budgetary preschool educational institution

Republic of Bashkortostan

Performance

at the RMO of educators of the Oktyabrsky district

urban district city of Ufa, Republic of Bashkortostan

on the topic of:

Prepared by: educator

MBDOU Kindergarten №37

Shcherbakova Valentina Petrovna

"Developing environment as a means of developing fine motor skills in preschool children"

"A child's mind is at his fingertips."

V. A. Sukhomlinsky

The correct development and upbringing of a child is the key to the most complete disclosure and implementation of all his intellectual and creative abilities, as well as successful socialization in the future. The development of fine motor skills in preschool children affects the development of such properties of consciousness as thinking, attention, imagination, motor and visual memory, observation, speech. The general intellectual level of the child directly depends on the level of development of fine motor skills. Therefore, it is important for teachers and parents to monitor the level of development of fine motor skills of the hands of children at any age.

The possibility of developing fine motor skills in preschool children is expanding, provided that a developing environment is created in the group. The developmental environment is the main means of forming the child's personality and is the source of his knowledge and social experience, therefore it should be organized so as to allow the child to show creative abilities, to realize cognitive and communicative needs in free choice.

In our group, for the most effective development of fine motor skills, we, together with parents, equipped a corner in which there is the necessary material. This is a variety of mosaics, constructors, puzzles, lacing, pyramids,ctweezers, spinning tops, manuals for unfastening and fastening buttons, locks, different types of fasteners - all are freely available.

IN We use not only factory and standard games, but also non-traditional materials to work on the development of fine motor skills and coordination of hand movements. For example, these are games with small objects: cereals "Dry Pool", "Cinderella"; with buttons "Beads", "Draw a picture"; shells "Lay out the path", "Assemble the figure"; clothespins "Washing", "Find by color"; curlers - sticky, used as a massager or constructor, from soft (bending) ones, we lay out the figures; counting sticks - laying out object pictures; magnets - we come up with fairy tales.

In addition to games and exercises, various types of productive activities also contribute to the development of fine motor skills: drawing, modeling, applique, construction. Children enjoy participating in all these activities, both in the classroom and on their own. In drawing we use: non-traditional techniques, as well as stencils, strokes, coloring. Modeling for children becomes an exciting pastime.In applique classes, children are attracted and delighted by bright colors, the arrangement of figures, they are very interested in cutting and gluing techniques. Construction is no less interesting for children. Children build numerous and varied buildings with great pleasure.

We send the best works of children to all-Russian competitions and some children have already become prize-winners and winners of these competitions.

An equally important part of our work on the development of fine motor skills is, of course, finger games. Finger games solve many problems in child development. They are very emotional, exciting, children take part in games with pleasure.

For parents, we conduct consultations, make memos, give recommendations, post visual information.

By creating in the group the necessary developmental environment conducive to the development of fine motor skills, taking into account the age characteristics of children, receiving support and help from parents, we will continue to achieve our goal.