Protocol #1
Conducting a regional methodological association

Venue - MKDOU kindergarten No. 2 "Smile" r.p. Ekaterinovka st. Youth, 17.

the date of the: 11/17/2017
attended– 29 people

Topic: "The introduction of the Federal State Educational Standard by means of modernizing the foundations of the education system of preschool educational institutions with a priority of artistic aesthetic development»
Target: increasing the level of competence of preschool teachers in matters of design and construction pedagogical process in the educational field "Artistic and aesthetic development" on the basis of integration educational areas within the framework of the implementation of the Federal State Educational Standard.

Agenda:
View GCD:
"Decoration of aprons with Dymkovo painting" middle group, teacher of the first qualification category Kashina T.A.
"In the workshop of the masters" senior group educator of the first qualification category Efremova E.N.
"The Kingdom of Enchanted Stones" preparatory group for school,
educator of the first qualification category Lisina E.M.
Presentation
"The experience of the preschool educational institution on the artistic and aesthetic development of a preschooler" senior educator of the highest qualification category Vdovenko S.P.
Self-analysis of GCD, exchange of opinions, summing up.
Tour of the DOW.
The participants of the RMO looked at the implementation of integrated direct educational activities (DCE) in three age groups. Educators used a variety of innovative technologies and methods to uncover creativity pupils.
The children in the classroom were liberated, active, successfully coped with the task. showed nice results in the NGO "Artistic and Aesthetic Development", the students realized their impressions and knowledge gained in independent visual activity, investing all their creative abilities and imagination.
All classes were held at a high professional level, methodically correct, in accordance with SanPiN standards and aimed at supporting children's initiatives.
After watching the GCD, the educators made a competent self-analysis, told in detail what non-traditional drawing techniques they use to unlock the creative potential of each pupil, both in organized and independent activities of a preschooler.
Their opinions about the NOD were expressed by:
Panova I.N. the educator of MKDOU kindergarten No. 3 "Birch", she noted that the methods and techniques of GCD in the middle group corresponded to the content and goals of educational activities, the age and level of preparation of children. The volume of educational activities is optimal and meets the requirements of the program. Rationally used time throughout the activity. Didactic material answered aesthetic requirements, ICT, health-saving technologies were used, children did not take long time static position. Concreteness, clarity and brevity of explanations contributed to the achievement of the goal. All pupils coped with the task, painted the apron, creatively approached the solution of the issue, showed good knowledge in folk arts and crafts. G.N. Litvinenko agreed with her. educator of kindergarten No. 1 "Topolek", Vasina N.A. kindergarten teacher No. 7 s. Vyazovka and Kotova N.S. kindergarten teacher "Firefly".
Chuzhnurova Z.Yu. kindergarten teacher No. 16 s. Slastukha drew attention to the fact that the goals and objectives of the GCD in the older group are formulated taking into account age and are united by a single plot. The teacher applied methods of organization: verbal, visual, practical. Degree of manifestation cognitive activity high, the children showed independence, creativity. The course was interesting and dynamic. Abramochkina N.A., nursery school No. 1 "Topolek", Ivanova O.V. agreed with her. and Semyonova E.V. d / s No. 3 "Birch", Levkina with. Novoselovka.
Atayeva M.V. music director MKDOU d / s No. 3 "Birch" focused on the fact that the teacher of the preparatory group for school set herself a problem in order to consolidate children's drawing skills on pebbles. He believes that the goals have been achieved, the children skillfully used their skills and abilities to achieve the goals. There is a connection with previously studied material. The teacher has pedagogical and methodical skills, speech is figurative, emotional. Throughout the session it was well chosen musical accompaniment, brought up a sense of kindness, a desire to help. Voronina M.V. agreed with her. kindergarten teacher No. 16 s. Slastukha, Matveeva N.M. senior teacher of kindergarten 3 "Birch", Antonova Yu.V. social teacher d / s No. 3 "Birch", Postnikova with. Novoselovka.
During the exchange of experience, the senior educator Vdovenko S.P. acquainted those present with the main tasks, targets and forms of organization of organized and independent activities of pupils in the organization of the NGO "Artistic and Aesthetic Development".
After an exchange of views on this area of ​​work in the preschool educational institution, the guests of the methodological district association toured the kindergarten. Special attention was given to the developing subject-spatial environment for artistic and aesthetic development: corners of fine arts, theater and musical activity, a zone for designing and didactic games.
At the end of the RMS, the participants of the association thanked the teaching staff of kindergarten No. 2 "Smile" for interesting developmental activities using innovative technologies wished them creative success.
Chairman of the RMO: Tarasova T.N.
Head of MKDO
Kindergarten No. 2 "Smile"

Secretary: Vdovenko S.P.
Senior educator MKDOU
Kindergarten No. 2 "Smile"

Presentation on the topic: Implementation of the Federal State Educational Standard through the modernization of the foundations of the preschool education system with a priority of artistic and aesthetic development

Speech at the regional methodological association

Topic: The manifestation of creative children

ability to portray nature.

Children's creativity reflects the 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 natural phenomena.

Comparing life phenomena with their reproduction in poetry, the child, first of all, 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: everything he sees strives to touch, examine, examine in detail from all sides and, of course, characterize it vividly and figuratively in his own way. The aesthetic perception of nature evokes in children a sense of careful, caring attitude towards plants and animals, the desire to care for them, and in a poetic description it helps children comprehend life observations, encourages them to display their impressions in a drawing. The more a child accumulates knowledge about nature, the richer and brighter his imagination becomes, without which creative activity is unthinkable. The development of children's creativity is of great help in the method of directing the visual activity of children. Nature is revealed in poetry in the color compositional, coloristic characteristics of images. Different colors become more understandable to children due to the fact that the poet very subtly and expressively highlights 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, children understand that dark forest"It is tedious to depict with saturated paint, and "transparent forests" require images in lighter tones.

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

Poems about nature help the child to correctly imagine this or that situation, to place the 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 also based.

For development and manifestation creativity a significant influence is exerted by the main factors: direct observation of wildlife, reinforcement of these ideas with 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 development creativity child to the image of the world around. Such a property of poetry as figurativeness enriches and diversifies the content of children's drawings, contributes to the introduction into them of moments that, when ordinary observation not always noticed by children.

The poetic characterization 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 a child's drawing is manifested in the child's transfer of his emotional attitude to the description of nature, which significantly increases aesthetic qualities Images.

Children can create creative drawings and only on the basis of observations of natural phenomena. But if we carry out purposeful work with them to develop their imagination and introduce them to poetry, then lyrical images of nature will certainly be present in any children's drawing, enriching and supplementing it with characteristic details. Based on developing aesthetic feelings, a certain relationship to nature begins to appear in the drawings. Only by observing nature, a child sometimes cannot find visual means to convey it in a drawing. The poetic image in this case 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 relationship between them, to arrange all objects in certain relationships, 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 ability to perceive expressive means in children is higher than the visual skills that contribute to their transfer in the drawing. Therefore, children uniquely use form, color, composition, coloring in their work. Drawing a landscape, the child strives to reflect only the signs and features that are characteristic in his opinion. For example, when drawing a spruce, children of five or six years old convey only the main features of a tree: the trunk and branches. Older children tend to highlight old and young spruces, large and small, etc. different shades green color in the color of needles, branches, different structure and coloring of the trunk, individualization in detail 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 coloring of the background performs an important semantic function - it helps to convey the mood and feelings of a small artist. IN to a large extent a poetic work contributes to the development of children's compositional skills. Lyrical lines, as it were, suggest the possibility of transferring perspective in the image of space (“only in the distance they show off ...”), compositional highlighting of the main image (“a Christmas tree was born in the forest ...”), reflecting the connection between objects. In a peculiar way, children creatively convey space: in the form of a frieze (one line), a wide strip of land, two or three friezes; can depict the horizon line by drawing roads, rivers, elevated places (hills, snowdrifts), a wide or narrow space of the sky. Arranging individual images

Nearby, children emphasize their differences in size.

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

So, having characterized the features of the use by the child various means expressiveness of the drawing, we can conclude that even a child of school age, as a rule, still does not convey the volume of the form, the depth of space, complex angles, chiaroscuro. But in his own way, he strives to convey the ratio of the parts of the subject, to highlight the essential, drawing the details, observing the rhythm, symmetry, using the right color.

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

The creative expressiveness of children's drawings is not something immutable, frozen. It develops under the influence of learning, you just need to find the most effective system of pedagogical influences. The teacher must constantly remember the influence of emotions as the driving force of the imagination, and, consequently, the expressiveness of children's creativity. It is emotions that arouse in the child the desire to convey their attitude to the depicted. At the same time, not knowing realistic methods of drawing, not knowing enough of reality itself, the child cannot convey this in a drawing. He is looking for feasible means of image, to get acquainted with objects 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 theme of the drawing captures the child, 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 complete solution program tasks of aesthetic education.

Open lesson for students 7-11 years old.

teacher additional education - .

Lesson topic: “Drawing a landscape”

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

Materials and tools:

Reproductions of artists - animal painters,

Illustrations, photo illustrations,

simple pencil,

Eraser,

tassel,

Jar under water.

Course progress.

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,

Be sure to picture

It's 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 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 come up with it yourself. paint landscape better paints(watercolor or gouache), because depending on the color scheme, you can easily depict any season, natural phenomena, the state of the weather. At the same time, do not forget about 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?

On a sheet of white paper, mark the background with a line. In the background, the sky, hills, small trees, all objects of a small size are usually depicted, without drawing specific details.

A little lower we draw objects of a larger size than in the background. And we depict the largest objects in the figure in the foreground, drawing even the smallest details on them.

Placing separate images of nature side by side, we emphasize them by differing 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 different breeds(birch, oak, spruce, pine, etc.) alternating them with various herbs, bushes. It is not bad 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 before us stands the main task- Correctly and beautifully draw a landscape.

To do this, each of you must mentally imagine yourself as a landscape painter. Let's close for a second - the other eye and draw a picture of nature in our head ( favorite time year, colorful corner native land etc.)

Represented? We take pencils in our hands and create our own picture called "landscape".

Practical work.

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

Outcome.

At the end of the work, when all the drawings are finished, a mini-opening day takes place - an exhibition of completed works. We arrange viewing and discussion of finished landscapes, analyzing all the "pluses" and "minuses".

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

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 enhances the general culture of a person, but also helps in choosing a future profession.

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

Building an individual educational route is a technology of individual work that involves the help of a child from a teacher. The advantages of the technology of an individual educational route are that it stimulates the maximum disclosure of abilities, creative possibilities of the individual. Students accept independent solutions that prepares them for adulthood.

The interpretation of an individual educational route involves going from the opportunities that the child has; to teach it taking into account the potential opportunities that need to be developed, improved, enriched.

In the educational route of each student in additional education of children, three levels can be conventionally distinguished. Promotion 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:

Program personal growth aims to help the student "get comfortable" in the environment of this association, try himself in a variety of activities, feel successful, develop cognitive interest. 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 ensuring that, based on the data about the student obtained at the first level, to provide him with the maximum wide opportunities to advance along the individual educational route chosen by him. The main part of the teacher's work is monitoring the effectiveness and correcting the child's educational route.

Third level:

The program is aimed at creating conditions for the realization 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 put into practice their own mini-projects: educational, research, socially oriented, etc.; contributes to the informed choice of the future profession by students.

The choice of a profession, the professional readiness of a child presupposes motivational, behavioral, emotional readiness and a high level of success orientation.

In the creative association "IZO" of the House of Children's Art, students learn the basic skills of drawing and painting, study the properties various colors, try to combine materials of different textures, get acquainted with collage, miniature painting, various non-traditional techniques, try their hand at arts and crafts, in the manufacture of souvenirs. Association training is based on 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, partially 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 whole group, further work conducted by students independently and with the advisory help of a teacher. The program is designed for 3 or more years of study and is designed for teaching children from 5 to 18 years old who want to acquire artistic skills. FROM school year a group of high school students was opened to teach 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, Natalia Toporikova and Marina Salnikova.

For example, Toporikova Natalia, has been studying at the children's creative association "Fine Arts" of the House of Children's Art since 2002. During her studies, she showed herself to be a talented creative person.

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

An important feature of classes with her was the provision of the student to participate in creative competitions various levels. Natasha participated with pleasure in district, regional, All-Russian and international competitions children's drawing, exhibitions of arts and crafts, annually taking prizes, which are confirmed by certificates, diplomas, letters of thanks.

Work with Natasha was carried out taking into account her interests. Techniques and methods of visual activity that were of interest to her were studied in more depth. A lot of time was devoted to the creation of works on their own composition, the development of non-standard solutions in a particular genre of fine art. There were discussions aimed at choosing a future profession.

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

Salnikova Marina also studied in the creative association of fine arts for several years. She came to the House of Children's Creativity as a modest girl with a great desire to learn how to draw well. Marina is distinguished by great diligence, diligence, listens very carefully to the teacher, trying to remember every detail. But unlike Natasha, she was hampered by shyness and insecurity. Therefore, an individual educational route for Marina was designed taking into account her needs. And it has borne fruit. Marina as well as Natasha, participating in various drawing competitions, creative exhibitions, has many awards.

In 2010, Marina entered the Kostroma State University named after the Faculty of Art and Graphics. In 2009, the first personal exhibition of her works was organized. In 2012, at the celebration of the City Day, Marina exhibited on her own. In March 2012 at XV Scientific conference young researchers "Step into the Future" Marina was awarded a diploma of the 1st degree.

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

Teacher of additional education

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" - rectangular, straightforward, straightforward, reasonable, truthful, clearly defined, devoid of quirks, full of strength.

P - mode - "left-handed" mode of the right hemisphere of the brain. "P" - sinuous, flexible, playful and full of unexpected twists and turns, complex, diagonal, whimsical.

L - mode:

Verbal (use of words for names, descriptions, definitions);

Analytical (comprehension of things step by step, part by part);

Symbolic (use of symbols to denote something);

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

Temporal (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 (drawing conclusions based on reasoning and facts);

Numerical (using numbers, as in counting);

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

Linear (thinking in terms of interrelated ideas, one thought immediately follows another, often leading to a common conclusion).

P - mode:

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

Synthetic (connecting things together, forming holistic pictures);

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

Analogue (noticing the similarities between things; understanding metaphorical connections);

Timeless (no sense of time);

Irrational (not requiring reasoning or facts);

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

Intuitive (leaps in understanding, often based on incomplete information, hunches, feelings, or visual images);

Whole (at once seeing all things as a whole, revealing General 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 primarily a function of the right hemisphere of the brain, we must exclude the intervention of the left hemisphere from this process. The problem is that the left hemisphere of the brain is dominant and fast-acting and is very prone to intervene in processes with its own words and symbols, even taking on work that is not too suitable for it. In order to draw the observed shape, the left hemisphere must be mostly "off" and the right "on". This combination results in a slightly altered subjective state in which right hemisphere becomes the leader. The characteristic features of this subjective state are the very sensations that the artists talk about: a feeling of close “melting with the 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 chained 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 a spatially non-verbal one. For this there are special exercises designed to challenge the brain with a task that the left hemisphere is either unable or unwilling to perform. One such exercise is the method of contour-modified drawing.

Drawing instructions:

1. Provide yourself with half an hour of time during which no one will disturb 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 moving along the fixed paper.

3. Give your hand some kind of difficult position - fingers twisted, bent in the form of claws, intertwined, clenched into a fist - whatever. A difficult hand position is better suited for our purposes than a simple unclenched, open hand, because the right hemisphere prefers complexity.

4. Once you start drawing, in no case do not change the position of the hand or the position of the head, i.e. 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 draw, keep your eyes on your hand. This will initiate the switching of consciousness into the P-mode. Imagine vertical and horizontal lines next to the hand. Determine the value of any angle relative to the vertical or horizontal line. Now look at a piece of paper and imagine that this corner is drawn on the paper. Choose some space, for example, between the 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 your mind making the switch to P mode.

6. Fix your eyes on any point of the contour. Determine the value of 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 circuit to the next. Don't try to draw complete outlines in order to draw the inner shapes later. It is much easier to move from one form to an adjacent one. Your pencil will register all the edges, distinguishing every slight change in direction and the waviness of each contour. This is a wordless process.

Don't talk to yourself. Don't name details when you draw. You work only with visual information; words are not needed. There is no need to try to figure things 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 the one you just drew, how steep one corner is compared to the other, and where one outline seems to come out of 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 simply need to transfer your observations to paper in the form of strokes that are a record of observations. You don't need to think to do this. Since you only need to feel, notice and write down what you see the drawing will seem like an easy task and you will work confidently at ease and enthusiastically fascinated by how all the parts fit together well like a perfectly matched composite picture- puzzle.

After you have finished drawing, re-think the drawing methods you used, what you felt in the right-brain state of consciousness, how you slipped into this state, consciously creating the conditions to facilitate the transition.

This first drawing experience of yours may reveal errors in the perception of proportions or angle ratios.

Drawing is a holistic skill requiring 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 ART

IN THE GENERAL MENTAL DEVELOPMENT OF THE CHILD.

A child cannot live in disorder. Everything that he sees, the child tries to put in order,

to see the natural relations 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 are growing next to ethical ones: "Beautiful cannot be bad."

Such personality traits as perseverance and the 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 arbitrary behavior the child has 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 not everything can (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, and not a directly perceived sample.

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

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

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 at the same time they talk a lot, gesticulate.

By the age of 4 - 5, two types of draftsmen stand out: those who prefer to draw individual items(they mainly develop the ability of the image), and narratives that are prone to unfolding the plot, narratives (for them, the 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 play, in dramatic action, in communication; the second focus on the drawing itself, draw selflessly, not paying attention to the environment. This opposition can be traced further in the classroom. children prone to the plot-game type of drawing will be distinguished by their vivid imagination, 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 develops worse in these children, while children who are focused on the image actively perceive objects and the drawings they create, take care of their quality. They are dominated by an interest in decorating the image, that is, in the structural side of their works.

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

Manage children's creativity. we can direct some of them to the plane of the drawing and show others how the image is connected with the game, fairy tale, dramaturgy.

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.

Children's drawing should be considered as a transition from a symbol to a sign. The symbol has a resemblance to what it stands for, the sign has no such resemblance. Children's drawings are symbols of objects, they have a resemblance to the depicted, the word does not have such a resemblance, so it becomes a sign. The drawing helps the word to become a sign.

FROM psychological point vision, we must consider the drawing as a kind of children's speech. The drawing of a child by psychological function is a kind of graphic speech, a graphic story about something. Children's drawing can be considered as a preparatory stage of written speech.

Drawing is done by a child with a certain material, and each time the idea is realized with the help of different visual means, in different material. Products of visual activity are not just symbols denoting an object, they are models of reality. And each time some new characteristics of reality appear in the model.

The development of perception in school age occurs on the basis of 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 it you can immediately see what is the main thing for the child, and what is secondary. There are always emotional and semantic centers in the drawing. Through drawing, you can control the emotional and semantic perception of the child.

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

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

USE OF GAMES IN THE SPECIFICITY OF THE CLASS

FINE ARTS.

The game is the leading type of activity of 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, the game gives the possibility of such an orientation in the external, visual world, which no other activity can give.

The game is special form development of reality by its reproduction, modeling.

The game is a leading activity, it gives the child the opportunity to interact with such aspects of life, in which real life the child cannot enter. In addition to playing in visual activity in preschool and primary school age, the perception of a fairy tale also becomes a special activity. The fairy tale is the most favorite literary genre for children. The perception of a child differs from the perception of an adult in that it is an extended activity that needs external supports.

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 a game. the use of fairy tales and games in the classroom is as follows: all children and the teacher take other names for themselves, depending on the topic of the lesson. For example, the teacher is Snow White, and the children are Dwarves (each with their own name); or children - forest monsters (Leshy, Kikimora, cat Baiyun etc.), and the teacher is Baba Yaga. Taking a name fairy tale hero, the child also appropriates its characteristic features, while forgetting, perhaps, about his timidity, shyness, shyness or rudeness.

Based gaming activity the child develops a number of psychological neoplasms. This is, first of all, imagination and the symbolic function of consciousness, which allow the child to transfer the properties of one thing to another in his actions. On this basis, a person develops common sense and the nature of human relationships.

The same game in the classroom can perform several functions:

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

2. Entertainment function - creation favorable atmosphere in the classroom.

3. Communicative function – uniting a team of students, establishing emotional contacts.

4. Relaxation function - relieve emotional stress caused by stress on nervous system with intensive training.

5. Psychotechnical function – formation of skills for preparing one’s own physiological state for more efficient activity, the restructuring of the psyche for the assimilation of large amounts of information.

WHAT GIVES THE USE OF THE GAME IN THE SPECIFICITY OF CLASSES?

1.Image memory.

We read a fairy tale prepared for illustration. We are trying to present the text in the form of a frozen silent scene. Each child can draw a detail given text. Then we recombine individual objects into an integral 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 classes devoted to the image of a person, the following exercises are effective.

We carefully look at the leader (any boy or girl), then we close our eyes, and we change the appearance of the child (we unbutton a button on clothes, we ruffle our hair, roll up our sleeves, etc.), opening the 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 line draw some image on the back of their partner with a finger (a cat, an airplane, a tree, etc.). the partner must determine what is drawn. If he guessed right, the couple takes a step forward. All draw 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 quickly.

5. Playing with the subject.

The host (teacher) chooses any small object: an umbrella, a pen, a ruler, a scarf - and passes it around in a circle. From now on, this item can play the role of anything, but not its own. Each player must present it with some other object and briefly beat it (perform actions with this object). For example: a pen - a thermometer (shake, measure the temperature). Then pass it on 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 a group of children. The rest of the children are observers. One of the chosen ones is the “artist”, the other is the “customer”, who orders his portrait from the “artist”. The "artist" carefully looks at his "customer" (1 - 2 minutes). Then he turns away and describes the appearance of the "customer" from memory.

Shadow game.

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

7. Removal of tension, neurotic conditions, fears.

The game "Catch the tail of the dragon."

Fun music sounds. Children stand one behind the other and firmly hold on to the shoulders of the person in front of them.

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

8. The development of the imagination.

The game "Take and pass."

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

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

The game "Blots".

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

(fight, scary monsters). Through the discussion of the “terrible drawing”, the child’s aggression comes out, thereby he is freed from it. It is useful to plant with an aggressive child calm child. The latter will take light colors for drawings and see pleasant things. Through communication with calm child on the subject of "interpretation of the blot" aggressive child calms down.

NOTE.

1. Children who are disposed to anger choose black or red paint.

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

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

4. There are situations when children choose colors individually and there is no clear connection between color and mental state child.

Topic: "Forms and methods of working with dysfunctional families"

Teacher-psychologist MBOU Malchevskaya secondary school

Millerovsky district of the Rostov region

Golovneva Tatyana Vladimirovna

General family dysfunction criteria:

1. Antisocial behavior

2. Improper performance of parental duties (ped. abandonment, parents do not provide the child with everything necessary for normal development, the child for some reason does not go to school, etc.)

3. Domestic violence.

These criteria apply not only to parents directly, but to all family members. It is also necessary to remember that the concept of a prosperous or dysfunctional family can only be applied to a specific child. Only the "family-child" system has the right to be considered as prosperous or dysfunctional.

There are also factors, which can lead to deformation of the family as a system, but do not directly determine the troubles of the family. These are some kind of risk factors.

1) biomedical: health group, hereditary causes, congenital properties, mental and physical development, conditions for the birth of a child, diseases of the mother, prenatal and postnatal (first 3 years) periods of development;

2) socio-economic: large families, incomplete family, minor parents, unemployed parents;

3) social isolation of the family, associated both with the loss of the family of social ties of one of the spouses, and with social discrimination of a single mother;

4) social risk factors: usually worse than in complete families, financial situation, inability to live in society: vagrancy, idleness, theft, fraud, fights, aggressive behavior);

5) psychological: alienation from the social environment, self-rejection, neurotic reactions, impaired communication with others, emotional instability, failure in activities, failure in social adaptation, difficulties in communication and interaction with adults and peers, frustration of basic needs;

6) pedagogical: the discrepancy between the content of the OU programs and the conditions for teaching children to their psychophysiological characteristics, the rate of mental development of children and the pace of learning, the predominance of negative assessments, uncertainty in activities, lack of interest in learning, closeness to positive experience, etc.

Characteristic features of dysfunctional families are internal instability, lack of awareness of the possibilities of meeting their needs in the family, and the lack of common orientations.

Elena Puryushina
Speech at the RMO of educators "Modern forms of interaction with the family in the context of the Federal State Educational Standard before"

2 : Problem kindergarten-family interactions has always been relevant and challenging. Relevant, because the participation of parents in the life of their children in a preschool institution helps them see a lot, but difficult, because all parents are different, they, like children, need a special approach. There are also difficulties in attracting parents to participate in kindergarten activities, or vice versa, the participation of the same families in organized activities.

3 : It is no coincidence that last years a new philosophy began to develop and take root family interaction And preschool. It is based on the idea that upbringing children are the responsibility of parents, and all other social institutions are called upon to support and supplement them educational activity.

4 : Recognition of family priority education needs a new relationship families and preschool. The novelty of these relations is determined by the concepts "cooperation" And « interaction» .

Collaboration is communication "equally" where no one has the privilege to specify, to control, evaluate.

Interaction- provides a way to organize joint activities, which is carried out through communication.

Therefore, the most important condition for improving the system of preschool education is the activity of teachers, focused on the development of new innovative forms of interaction with parents.

5 : According to the new law "On education in Russian Federation» one of the main tasks facing the preschool institution is " family interaction for

ensure full development child's personality." In St. 44 Laws says: "parents have preemptive right for training and upbringing children in front of everyone else. They are obliged to lay the foundations for the physical, moral and intellectual development of the child's personality.

6 : IN GEF DO says that work with parents should have a differentiated approach, take into account social status, microclimate families, parental requests and the degree of interest of parents in the activities of preschool educational institutions, increasing the culture of pedagogical literacy families. It is emphasized that one of the principles of preschool education is the cooperation of the organization with family, but GEF DO is the basis for helping parents (legal representatives) in parenting, protection and strengthening of their physical and mental health, in the development of individual abilities and necessary correction developmental disorders. One of the requirements for psychological and pedagogical conditions is the requirement to provide psychological and pedagogical support families and increasing the competence of parents (legal representatives) in matters of development and education, protection and promotion of children's health.

7 : characteristic trend contemporary period in the development of domestic education is the desire educational institutions to openness, which implies the participation of society in the life of preschool education. (GEF UP TO h. III p. 3.1 p. p. 5, 6)

8 : The goal of the teaching staff is to create a single space for the development of the child in family and preschool, to make parents participants in the educational and educational process .

9 : Our mission (kindergarten)- professional help family in raising children, while not replacing it, but supplementing and providing a more complete implementation of its educational functions. "turn around" facing family to give her pedagogical assistance, draw family on your side.

10 : The problem we face is how to organize interaction between family and kindergarten to a tricky business education became a common cause of teachers and parents?

The problem of involving parents in a single space child development in a preschool institution should be addressed in three directions:

Work with the team of the preschool institution on the organization family interactions, familiarization of teachers with the system of new forms of work with parents.

Raise pedagogical culture parents.

Involving parents in PEI activities, joint work on the exchange of experience.

11 : The result of implementation GEF in working with parents should be the creation of an effective model of cooperation based on a personality-oriented model interactions. For successful cooperation with parents, it is necessary to adhere to the principles interactions:

A positive attitude towards communication is the very solid foundation on which all the work of the teachers of the group with parents is built. In communication educator not with parents appropriate: categorical, demanding tone.

The teacher communicates with parents daily, and it depends on him what the attitude will be families to kindergarten in general. daily benevolent interaction teachers with parents means much more than a separate well-conducted event.

Modern moms and dads are mostly knowledgeable people and, of course, well aware of how they need bring up their own children. Therefore, the position of instruction and simple propaganda of pedagogical knowledge today is unlikely to bring positive results. It will be much more effective to create an atmosphere mutual assistance and family support in difficult teaching situations. It is now important to implement the principle of openness of the kindergarten for parents. This principle assumes that parents can freely, at their own discretion, at a time convenient for them, get acquainted with the activities of the child in kindergarten, communication style teacher with preschoolers getting involved in the life of the group.

Modern life and its rhythm dictate the need for kindergarten to develop all the time. Depending on this, they should change forms and areas of work with family based on the principles of openness, trust and cooperation, which will help to rally parents around me.

12 : We are all well aware of such fairly stable forms kindergarten work with family, which in preschool pedagogy considered to be traditional:

1. Pedagogical education parents: conversations, consultations.

2. General and group meetings.

3. Visual propaganda: parent corners, stands.

However, traditional parent meetings in lecture form, reports no longer find a response in the soul of parents and do not give the desired result.

13 : TO modern forms of interaction include 4 main areas of work with parents in the context of implementation GEF DO

1. Cognitive direction

2. informational-analytical direction

3. Visually information direction

4. Leisure direction

14 : Cognitive direction - aimed at familiarizing parents with age and psychological features children preschool age, formation parents have practical skills parenting.

General, group meetings;

Consultations and individual conversations;

- exhibitions of children's works, crafts made with parents.

Participation of parents in the preparation and holding of holidays, entertainment, leisure.

Joint excursions, hiking, hiking;

Open classes;

Master Class;

Seminars.

Joint creation of a subject-developing environment;

Helpline (manager's number, educators all parents have .

morning greetings;

Family projects.

15 : informational- analytical direction -

is aimed at identifying the interests, needs, requests of parents, the level of their pedagogical literacy, establishing emotional contact between teachers, parents and children. Helps to better understand the pedagogical needs of each families and take into account individual characteristics.

In this direction, you can conduct: questioning, testing, personal conversations, survey, interview.

16 : Visually- information forms of interaction: provide an opportunity to convey to parents any information in an accessible form, remind tactfully about parental responsibilities and responsibility. ( exhibitions of children's works, photo reports presented in the form of wall newspapers or slide shows, videos).

17 : Leisure direction - designed to establish warm trusting relationship, emotional contact between teachers and parents, between parents and children.

This direction is the most attractive, demanded, useful.

Holidays should be held not for parents, but with the involvement of parents, so that they know how much trouble and work must be invested in preparing any celebration.

In this direction, you can organize:

Holidays that can be ended with tea drinking.

upbringing children are mostly taken care of by their mothers. They also go to kindergarten.

Entertainment;

Holidays

Celebration of birthdays;

- Exhibitions;

Competitions for traditional holidays;

Days of good deeds.

18 : Data modern forms interactions allow parents to objectively see the activities of the teacher, reconsider the methods and techniques of home education.

We should all strive together to make children feel good and comfortable in kindergarten, and parents gradually become active participants in all affairs, indispensable helpers for us.

Diverse forms of interaction designed to help us transfer parents from "spectators" And "observers" into active participants in the educational and educational process of children.

19 : THANKS FOR ATTENTION

Performance

at the regional methodological association

senior preschool age.

Topic: "Development of communication skills

preschoolers through play activities

Form of carrying out: seminar - workshop.

Performed : music director

MADOU CRR "Fairy Tale" Kosarenkova N.A.

2014

The ability of a child 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.

Watching modern children who attend kindergartens, we are increasingly noting the inability of children to communicate with each other. Moreover, many of them suffer from speech disorders, 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 communicate only with adults.

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

Among the problematic forms of interpersonal relationships, 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 to make contact with other children, with an adult.

What is communication?

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

Main components (sides):

1.Communicative side of communication (exchange of information between individuals)

2. Interactive side (organization of interaction between individuals)

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

During the communication process:

verbal communication that takes place through speech.

non-verbal , which includes:

• Visual (gestures, facial expressions, postures, eye contact)
• Acoustic (voice timbre, range, tonality, pauses, coughing, laughter, crying, etc.)
• Tactile (stroking, touching, shaking hands, hugging, kissing)
• Olfactory (pleasant and unpleasant natural human odors).

Communication can be divided into the following stages:

• Establishing contact
• Orientation in the situation
• Discussion of the issue, problems
• Decision-making
• Exit contact.

Our task is to promote the development of the following communication skills:

• Ease of making contact
• Maintaining a conversation
• Listening skills
• Speech skills own point vision
• Ability to argue and defend one's position
• Ability to come to a compromise solution.

Games for the development of communication skills.

Psychological games

Goal: improving the psychological status and uniting the children's team

your virtues.

Children sit in a circle and tell the neighbor on the right about his virtues. The one to whom they turn answers: “Yes, I have it. But Tanya……”

We give good

Option 1 - Children sit in a circle and give good wishes(clockwise): “I wish you… Let mom 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"

Finger birthday exercise

My birthday isI pointing finger bows

Come all friends"calling"

Hello, finger, did you call us?

Called! "bows"

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

Invited! "bows"

Hello my dear guests! "beckons"

Come on! Come on!

Don't go anywhere!From stopron to the side

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

Call exercise:

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

Exercise “Mom cooks porridge” (mother hare, bear, etc. and carrot, honey porridge)

Mom cooks porridge, porridge malash

Sugar added, sprinkled with salt

Delicious porridge, porridge-baby.

With gonziks, pronounce any tongue twister in syllables.

Games on visual contact"Reviews"

Standing in a circle, we look for a pair with our eyes, as soon as we find it, we change places. Further with complication - a pretzel, a birch, hello, scarecrows, mixers.

Games for tactile contact

Exercise "Come here" (children stand in pairs

Come here - they beckon with the 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, - A palm to the ear of a comrade

Yes shi-shi-shi

The kids have changed - they are looking for a mate

(the last time the kids hugged)

What's in the hump?

The children stand like a train.

Fish exercise (hands behind the back)

CAN BE PERFORMED IN PAIR

Once a fish swam out of its house and began to look for a girlfriend. She swam one way, she swam the other way. She swam up, ... down ... She did not find her girlfriend and swam to her house.

Another girlfriend came up (same) ...

And so both fish swam out of the house and met ... (both hands involved) ... and said hello

Hello fish!

Hello fish!

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

The game "Fish - fish"

Music sounds, all children are fish. . Music stops looking for a couple. Some remain fish, while others remain pebbles. Pebbles sit down and sit, clasping their knees.

Everyone says the words:

Fish, fish, they're all good

Dads and moms and kids ... (music sounds, the fish begin to swim, the music stops, the fish sit down near the pebble. They stroke it on the back and say the words:) “The best, dearest, most beloved, my pebble! I'll sit for a while, sleep next to you. (hugs). And at night there was a transformation. (change roles)

Attention game "Fish"

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

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

Jumps over the water - children clap

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

Lined up with the shore - Ay-ay-ay!

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

Sunbathing on the shore - Wow!

GONZIKI

One foot 1,2,3,

Other foot 1,2,3,

Third foot 1,2,3,

And the fourth wave.

Run together to the right

Run to the left together

And a little tired.

Mosquitoes

We are walking, we are walking

We raise our paws together

We sat for a while

turned their heads

They pushed off, they flew.

Friends conversation.

• Hello friend, what did you do?
• I was looking for flowers in the forest.
• Did you find flowers?
• No, I didn't. I came to you for help.
• I can't help you, friend. And I can't find flowers. Because all the flowers have long gone to sleep.
• Winter is coming in a hurry, it will bring snow with it
• What a pity, you have to wait. Spring will come - I'll go look.

Bead exercises. Collective work.