Creative potential of the individual: structural components. Components of creative abilities Stages of creative thinking

Introduction. 3

Chapter 1. The concept of creative potential. 6

Chapter 2. Technologies for the development of creative potential. 9

2.2. Peculiarities adolescence. 11

Chapter 3. Examples of technologies for developing creative potential. 12

Conclusion. 14

References: 15

Introduction

The development of the creative potential of children and adolescents is a new problem for pedagogy and psychology within the framework of modern society, and especially for Russia.

In the past in our country due to long reign one party and the idealization of a totalitarian regime, children were raised as performers, people subordinate to the system, thinking the way the state wanted. For almost a century, the Soviet government purposefully carried out the implementation of tasks aimed at educating a disciplined individual, starting from the very beginning. early childhood. The consequences of this policy have been entire generations of young people who have a poorly developed emotional-volitional sphere, a low level of aspirations and intelligence, poverty of imagination and lack of creativity.

During the crisis of the 90s and the transition to a market economy, young people were unable to act mobile in a new environment; due to difficult socio-economic living conditions, there was a surge in negative phenomena such as drug addiction, alcoholism and others.

Russian government revised previous ones life goals and the task of shaping the nation’s way of life, posed a new task for society related to the need to develop the creative potential of the personality of youth and children from an early age, since youth and children are the future of the country.

In accordance with the Federal Law “On State Youth Policy in the Russian Federation,” state support for the creative activities of youth is one of the main directions of state youth policy in the Russian Federation, since in the modern dynamic world high demands are placed on human activity in various spheres of society. A specialist must have high creative potential to successfully solve non-traditional problems.

Also, the development of creative abilities is one of the urgent tasks of education, since they are manifested in the readiness to use new perspectives provided by an ever-changing life, putting forward unique and non-standard ideas and satisfying the need for self-realization.

Over the past decade, a number of works have appeared that explore the problems of developing the creative potential of students in modern conditions: psychological foundations the process of development of creative potential (E.L. Yakovleva); the formation of the creative potential of an individual in the higher education system from the position of philosophy (P.F. Kravchuk) and in the aspect of readiness to form the creative potential of students (L.K. Veretennikova, A.I. Sannikova).

Despite the fact that every year more and more articles appear on the development of creative potential, there is no systematic study of this problem, since it began to be actively studied relatively recently, about a decade ago in connection with modern socio-economic reforms Russian society mentioned above.

The practical interest of our research is the study of the motivation for creative activity, methods, technologies and platforms for the development of creative abilities of adolescents. While the relevance of the problem we are raising is based on the fact that, despite its importance, it remains practically unexplored with regard to new methods of work and the volume of activities carried out. This problem has not received enough attention, which determines the theoretical significance of this research work.

Purpose This work is a study of existing technologies for developing the creative potential of adolescents.

Tasks:

1) Explore the concept of creativity.

2) Research psychological, pedagogical and social literature on the topic of developing creative potential.

3) Separate the terms “technology”, “method” and “method”

4) Explore the psychological characteristics of adolescents

5) Study the concept of technology using specific examples of projects and events

Object of study: human creative potential.

Subject of study: technologies for developing the creative potential of adolescents.

Methods:

Document analysis

Theoretical analysis of scientific literature

Interpretation of results from other studies

Research structure: The course work includes an introduction, 3 chapters and 2 subparagraphs in one of them, in which the assigned research tasks are solved, a conclusion, a list of sources and literature.

Chapter 1. The concept of creativity

First of all, in order to explore technologies that influence the development of creative potential, it is necessary to determine what we mean when we use the very concept of “creativity.”

It is fair to note that the concept of “creativity” can be used in the context of more than just one area of ​​a person’s life. Scientists in various fields of science have been studying this phenomenon since the 60s of the 20th century. Then the term was considered within the framework of philosophical and psychological sciences. And in pedagogy, the study of creative potential began only in the 80s.

It is quite difficult to give one definition to such a concept as creativity. It does not have an unambiguous interpretation, and it has its own interpretation depending on the approach within which it is studied.

So, for example, from the point of view of the developmental approach, researchers define creative potential as “a set of real opportunities, skills and abilities, a certain level of their development” (O.S. Anisimov, V.V. Davydov, G.L. Pikhtovnikov, etc.). At the same time, within the framework of the activity-organizational approach, this phenomenon is considered as “a quality that characterizes the extent of an individual’s ability to carry out activities of a creative nature” (I.O. Martynyuk, V.G. Ryndak)

Within the framework of the integrative approach, researchers define creative potential as “a gift that everyone has, as an integrative personal characteristic of a person, which is a systemic formation that expresses a person’s attitude to creativity (positions, attitude, orientation)” (A.M. Matyushkin)

T.G. Braje defines creativity as “the sum of the system of knowledge, skills and beliefs on the basis of which activities are built and regulated; a developed sense of the new, a person’s openness to everything new; a high degree of development of thinking, its flexibility and originality, the ability to quickly change methods of action in accordance with new operating conditions.” And L. A. Darinskaya, in turn, describes creative potential as “a complex integral concept that includes natural-genetic, social-personal and logical components, together representing the knowledge, skills, abilities and aspirations of the individual for transformations in various areas activities within the framework of universal human norms of morality and morality.”

Based on the above, we can conclude that this moment There is no general consensus on the content of the concept of creative potential. However, most researchers of this problem agree on one thing: every person, without exception, has the ability to be creative.

As a working definition, we will use the definition in a narrower sense. Creative potential is the energy that can contribute to the development of natural creative abilities, personal qualities and properties of a person, and lead to the full realization of a person’s capabilities.

Very often in modern society we are faced with the fact that most people confuse such concepts as inclinations, abilities, talent, giftedness, genius, creativity, inclination and creative potential, believing that all these terms are synonymous and use them in their speech, without thinking about the real meaning. But this opinion is wrong. Each definition is different from each other in one way or another.

Let's start with one of the most important definitions. So B.M. Teplov believed that “inclinations are innate anatomical and physiological characteristics of the nervous system and brain, which form the natural basis for the development of abilities.” That is, the makings here are the very first, initial level of the formation of creative potential, which in turn consists of many components. The next stage in the development of inclinations is abilities.

A.V. Petrovsky, in his textbook on general psychology, gave the following definition of ability: “Abilities are those psychological characteristics of a person on which the success of acquiring knowledge, skills, and abilities depends, but which themselves cannot be reduced to the presence of this knowledge, skills, and abilities.” If we compare abilities and inclinations, we can easily come to the conclusion that if inclinations are innate physiological characteristics of a person, then abilities are characteristics at the psychological level. When we talk about a person’s abilities, we mean his capabilities in a particular activity, and not the already developed skills of an ability. Abilities cannot exist on their own; they exist only in a constant process of development. An ability that does not develop will be lost over time. In addition to abilities, there are several other terms that are confused with each other. These are “talent” and “giftedness”. There are many different points of view on whether the terms “talent” and “giftedness” can be considered synonymous.

The term “giftedness” appeared only at the beginning of the 20th century. Since “talent” was previously used, there was a need to clarify the similarities and differences between the concepts. There are scientists who consider talent to be realized giftedness, and giftedness is only a natural prerequisite for talent. For example, A.V. Libin, who said that “all people are naturally gifted, but only those who have special abilities and manage to realize them are talented.” But there is also an opposite point of view, which claims that “giftedness” and “talent” are actually synonyms, denoting a set of abilities that develop during a person’s life.

We will adhere to the version that the concepts of “talent” and “giftedness” differ in meaning. When we talk about ability, we emphasize a person’s ability to do something, and when talking about talent, giftedness, we point to the innate nature of this quality of a person. So, if giftedness is the innate, genetically endowed qualities of a person for the manifestation of any abilities; then talent is the same qualities, but with the only difference that a person has already demonstrated them during his life. In this case, “inclinations” and “giftedness” can be considered synonyms.

And the last highest level of talent development, which creates the possibility of achievement in any field, is considered to be genius. One of the characteristics of genius is originality. We call those creations ingenious, which are distinguished by uniqueness, individuality, novelty and a fresh look. A genius is a person who can do things differently and better than his contemporaries, but this is not always perceived positively, since this is an exception, and society is afraid of exceptions and tries to eradicate them. The difference between genius and talent is that manifestations of genius are more unconscious, sudden, uncontrolled, spontaneous and unpredictable.

The assessment of genius depends on external factors, on its perception by the surrounding society. Discoveries usually happen by chance. A significant role is played by the era in which a person lives and the depth of human knowledge in the area being studied. Therefore, genius is not a physical or psychological factor; it cannot be measured, since it depends mainly on social factors.

Analyzing all of the above, I chose the concept of creative potential because it is much broader than other terms related to creativity and depends not only on one physiological or psychological factor, but on the combination of both of them.

In these conditions, the task of forming and developing the creative potential of an organization becomes very relevant. Human potential plays a paramount role in creating the creative potential of an organization. The professional knowledge of an organization's employees is determined primarily by the level and quality of education. The increase in human assets also occurs in the process of targeted training of specialists, conducting training sessions to improve the skills and professional retraining of the organization’s employees.

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Prof., Doctor of Economics Blinov Andrey Olegovich, VZFEI, Moscow

Associate Professor, Ph.D. Rudakova Olga Stepanovna, VZFEI, Moscow

DIAGNOSTICS OF CREATIVE POTENTIAL OF ORGANIZATIONS

Economy of developed countries market economy this is an economy with clearly expressed innovative features. A necessary factor for innovative development is a creative approach to managing organizations. The key element of effective production is a person - creative, creatively thinking, searching. Up to 40% of GDP in developed countries is created by creative workers. In these conditions, the task of forming and developing the creative potential of an organization becomes very relevant. Harnessing the capabilities embodied in people allows organizations to intensify innovation and improve the quality and competitiveness of products and services.

The creative potential of personnel can be defined as the ability and determination to overcome obstacles and solve assigned problems. A distinction is made between motivated and unmotivated approaches. In the first case, creativity is based on knowledge, choice of methods, social criteria, cultural universals, etc. In the second case, knowledge may not play a decisive role, and then the process of using creative potential becomes intuitive, goes the way trial and error.

Human potential plays a paramount role in creating the creative potential of an organization. The concept of human potential includes:

• competence, problem solving ability;
• intelligence;
• Creative skills;
• demographic and spiritual potential;
• leadership skills;
• motivation;
• psychometric data.

The professional knowledge of an organization's employees is determined, first of all, by the level and quality of education. The increase in human assets also occurs in the process of targeted training of specialists, training sessions for advanced training and professional retraining of the organization’s employees. In this regard, in leading companies and firms in the USA and Western Europe, training employees during their labor activity the organization attaches special importance. Up to 2030% of working time is allocated to study.

Employee knowledge is the toolkit through which intellectual products are created as a result of the creative process. The creation of intellectual products generates new knowledge, thereby increasing the human assets and creative potential of the organization.

However, to implement existing and acquired knowledge, experience and skills in solving professional problems and tasks that arise in the innovative activities of an organization are required. First of all, creative work skills are required. Quite often, some specialists have experience and skills that are unique to a given employee and cannot be transferred to any other member of the organization’s team. In creative activity, this is the experience of foresight, an intuitive choice of the direction of research, methods of solving problems.

The possibilities for successfully acquiring knowledge and obtaining skills largely depend on the professional qualities of the employee and, above all, on the psychometric characteristics and abilities of the person. Very important for increasing human assets by increasing the volume of collective knowledge and skills are the following employee abilities:

• learning ability, receptivity to new knowledge, thirst for new knowledge;
• aptitude for critical thinking;
• ability to abstract, simulate a situation, master information technologies;
• efficiency, perseverance in achieving the set goal, in solving problems;
• efficiency, organization, creative spirit.

An important role in increasing human assets in the life of an organization is played by professional inclinations, a creative approach to work and the professional qualifications of employees. It is essential that these characteristics correspond to the employee’s place in the team, and that the employee’s qualities correspond to the tasks assigned to him.

If knowledge and experience can be acquired and increased by an employee of the organization in the process professional activity, especially active in the process of creative activity, then the psychometric characteristics, abilities and inclinations of each individual are given to him by nature and can only develop, but cannot be acquired as an element of training or education.

Creative potential is associated with a person’s practical activities and is assessed depending on how it influences these activities. The creative potential of the staff, its social role, that is, a person’s actions from goal to result can be understood and assessed only based on common system enterprise organization. The realization of the creative potential of each employee is within the person and is carried out through the self-realization of the individual. The creative potential of each employee is fully realized only if it is identical to the needs of the organization as a whole.

In order to be responsible not only for the goals, but also for the results of the organization’s activities, knowledge of how to use the creative potential of personnel and how to evaluate it is necessary. To assess the creative potential of staff, it is necessary to activate it, that is, it is necessary to create conditions for its implementation within the organization.

When solving a particular business problem, there is a tension between what is available and what the organization needs. This contradiction is, on the one hand, an internal incentive to activate the creative potential of each employee, and on the other, an incentive to external activity in solving problems.

Modern business relies on creativity and staff development. So, from the experience of American companies it follows that every 35 thousand dollars invested in education brings a profit of 1 million dollars.

There are many methods for studying the activation of the creative potential of organizational personnel. The most common of them are often called the following:

• “brainstorming” and its varieties: individual, written, direct and mass species, and also known are the double method, the idea evaluation method, the reverse method, the “ship council” method, the “conference of ideas” method;
• focal object method;
• morphological analysis;
• trainings;
• coaching.

The potential for creative activity of the organization’s team of employees, which ensures effectivethe use of human assets allows you to get more than the sum of the efforts of individual members of the organization, i.e. a synergistic effect is achieved.

The creative potential component is determined by corporate culture. Corporate culture contributes to the accumulation of knowledge, acquisition of new skills, enrichment of experience and improvement of professional qualities. The corporate culture of an organization is an integral part of the creative potential of the organization. It determines the effectiveness of the creative process and the success of building knowledge and skills by employees of the organization.

In modern conditions of rapid development of an innovative economy, continuous improvement of production, constant updating of manufactured goods and services, “know-how” acquires special importance, ensuring success in competition and expansion of market niches in the organization, all this increases the creative potential of the organization.

Using the creative potential of staff requires the combined efforts of many people, so the formation of various communities of creative specialists in the organization is becoming increasingly important. Innovative groups formed in organizations are known under different names: business communities, communities of interest, creative groups, innovation teams, thematic groups, best practice teams, etc.

Based on the purpose of communities, there are four types:

1. to provide assistance in solving everyday problems;
2. to develop and disseminate best practices, guidelines and procedures that can be used by community members;
3. to organize the management and disposal of the volume of knowledge and creativity that can be used by members of the community;
4. to innovate and create breakthrough ideas, knowledge and practical experience.

Business communities can exist within an organization or extend beyond it, operating in physical and virtual space.

A team is usually created to harness the creative potential of staff to solve complex problems (for example, develop critical projects), perform special functions, and promote creativity. A team is a type of collective and usually represents small group, bringing together individuals with diverse knowledge, skills and creativity.

Team members must have:

• willingness to understand and accept common goals, cooperate, accept the opinions of others, trust each other;
• ability to identify and solve problems;
• a tendency to learn and self-learn, to exchange information;
• communication skills, openness;
• high level of specialized knowledge;
• the desire to achieve better results;
• responsibility.

The team is characterized by:

• often by inconsistency of composition and leaders, who can change depending on the nature of the task being solved. This does not fully apply to the top management of firms, which today also often act as a team;
• full responsibility of the leader, as the most competent member of the team in relevant matters, for the assigned direction and the assignment of the functions of organizer and coordinator of all work to the official leader;
• significant intellectual, creative potential and status of the participants;
• high psychological and socio-psychological compatibility, cohesion, close mutual understanding, culture joint activities;
• a clear definition of everyone’s powers;
• making major decisions jointly after full discussion, with the person responsible for the relevant direction having a casting vote.

Team work should correspond to the interests and abilities of a person (maximize the use of creative potential), be complex, varied, provide the opportunity to demonstrate independence, learn and improve skills, and be fairly rewarded.

In modern organizations, teams are often assigned the role of only generators of ideas at the appropriate stage of making a business decision, but there are various types of groups (teams) that can contribute to the development of the creative potential of staff, increasing the dynamism and innovativeness of the organization.

Teams are created at all levels of the organization, but a special place among them is occupied by the top management team (Top Menegement), which deals with the most important and complex problems.

The climate of the scientific laboratory within which the team operates is a factor that determines creativity as well as the effectiveness of the organization. A healthy department climate is characterized by trust, openness, and a spirit of friendly competition. Hiddenness, mistrust, ambiguity in asking questions - these are the symptoms of an ineffective organization, the functioning of which is unlikely to be purposeful and can contribute to the development of creative potential.

Coaching is increasingly being used to develop the creative potential of such teams. Coaching is an interaction model through which a top manager increases the level of motivation and responsibility of both himself and his staff.

An organization that uses coaching for top management has a number of competitive advantages. Its top managers are confident in their abilities and work with great interest and higher efficiency. Essentially, management coaching is an explanation, facilitation of decision making, a special tool for improving the client’s performance. Coaching clients can be both top managers and teams. The use of coaching increases the productivity of each top manager or the team as a whole, improves relationships within the team and unites the team, which acquires the ability to quickly and effectively respond in critical situations and successfully solve emerging problems.

In essence, coaching is a special system of supporting a person, which allows him to unleash his creative potential and achieve real results, both in professional and personal life, to form a creative team, and in the most effective way.

The difficulty of managing the creative potential of staff through teamwork may be due to the lack of a culture of collaboration, individualism, the desire for leadership, personal results, and impatience. This requires each participant to understand the overall situation. Therefore, the free exchange of information plays an important role here, the volume, completeness and accuracy of which far exceeds those needed for operational management.

It should be noted that currently systems, models and processes for managing the creative potential of personnel modern organizations must be varied and dependent on strategic goals, existing knowledge, abilities and skills of personnel. Analysis of existing practice allows us to identify the main processes in the activities of managing the creative potential of personnel that are present in any model. These are the following processes:

• formation;
• usage;
• development.

Auxiliary processes include those processes that are, to one degree or another, included in all main processes, permeate them, and ensure their flow:

• accumulation;
• spreading;
• protection;
• grade;
• control.

If the main processes for managing the creative potential of personnel can be conditionally called horizontal, then the auxiliary processes are vertical.

Processes for managing the creative potential of personnel can be designed as separate business processes, or can be integrated as parts into the main business processes of the organization. They are related to strategy, change management and managing people as human capital, which can be developed from both a qualitative (knowledge, creativity) and quantitative point of view.

These processes can be positioned as a driving force of change and at the same time a reaction to them, since one way or another, participation in teams acts as a link between the implementation of organizational strategy and individual changes.

The importance of teams as initiators of change, improvement and, accordingly, agents of strategy should be emphasized. To implement the processes of managing the creative potential of personnel, an easily accessible critical mass of workers is required, represented by the management team, especially middle and lower managers, due to the fact that it is the latter who are able to directly influence the efficiency of the organization.

Therefore, the role of team development is to support planned and implement spontaneous changes in organizations. Organizations must choose whether to take a traditional approach based on identified needs or adopt a creative approach based on thoughtful strategy exploration and the creation of “creative contradictions.”

In our opinion, there are two possible ways to develop the creative potential of an organization:

• in the absence of an innovative and creative idea, a search is made for opportunities to use the results of innovative and creative activities of other organizations;
• If there is an innovative idea that was put forward by the creative team of the organization, further development of its own innovation is carried out.

The first direction of development of the organization’s activities at this stage leads to an analysis of the possibilities of acquiring a patent or license and is carried out by studying mainly patent literature and information about the innovative activities of competitors. However, the possibility of acquiring a patent or license is determined by the financial condition of the organization, as well as the urgency of introducing it to the market with competitive products. In the absence of financial opportunities to use the innovations of other organizations, there is a return to the search for their own innovative ideas.

It can be assumed that the most effective in managing the creative potential of an organization are innovative events, that is, events that use new, more advanced and effective principles for achieving results. Creativity is not determined by the absolute novelty of the event; the event itself may be well-known and used in other industries or services. In a specific process that is managed in a given organization, a well-known event gives a new effect and allows you to get a better result than the traditionally carried out event. The set of creative activities is a mechanism that provides the opportunity to improve the management of the creative potential of an organization’s activities.

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1. Controversies
2. Relevance of the problem
3. Goal and tasks

1. Main part

1. Diagnostics of the development of students' creative potential

1. Expected results

1. Main tasks for achieving results
2. Planned educational results

1. Conclusion

1. Introduction

We live in an age of scientific and technological revolution, and life in all its manifestations is becoming more diverse and complex; it requires from a person not stereotyped, habitual actions, but mobility of thinking, quick orientation, and a creative approach to solving large and small problems. It is easier for a person with a creative mind not only to change professions, but also to find a creative “zest” in any activity, to get carried away by any work and achieve high productivity.

Schools must respond to these changing social conditions: we must teach creativity in the same way we teach reading, mathematics and other subjects.

1. Controversies

In modern scientific, methodological and practical research, an effective model of the educational process for developing the creative potential of students has not been defined, and the optimal mechanisms for its implementation have not been identified. There are no sufficiently clear, systematized conditions for optimizing the declared pedagogical system in educational process, which is focused on the requirements of the new personal paradigm education that prioritizes the development of the child’s personality; There are no programs to develop the creative intelligence of students necessary for carrying out intellectual and creative activities.

Thus, at present there are contradictions:

Between the objective need to develop the intellectual and creative potential of a schoolchild and the insufficient development of the theoretical and technological foundations of this problem, the lack of experience in this direction in the practice of general education institutions;

Between the focus of the majority of students on performing activities and the unpreparedness of a number of teachers to create special development environments that contribute to the development of the necessary attitudes in the child’s activities to understand the value of gaining creative experience in the intellectual sphere of activity and the need to carry out this work in connection with the requirements for a modern school;

Between the need for a generation of people capable of thinking outside the box, and the lack of such models of the educational process that would maximally contribute not to the formation of normative knowledge in students, but to the formation, development, and improvement of personal qualities that provide the opportunity to realize intellectual and creative potential.

1.2. Relevance of the problem

The new organization of society, a new attitude to life also places new demands on the school. Today, the main goal of education is not only the accumulation by the student of a certain amount of knowledge, skills, abilities, but also the preparation of the student as an independent subject educational activities. The basis of modern education is the activity of both the teacher and, no less important, the student. It is precisely this goal - the education of a creative, active personality who knows how to learn and improve independently - that the main tasks of pedagogical activity are subordinated to.

The social order of society orients the domestic educational process towards the development of a creative personality who has not only deep and solid knowledge, but is capable of solving the problems of the new century high level. But today's education system is experiencingacute deficit in experience of creative activity, and there is a need to create new pedagogical programs and methods that will contain a component of developing creative abilities in schoolchildren of different ages. And also, special attention should be paid to the development of the individual creative abilities of the younger generation.

Solution to this problem assumes an increase in the number of classes with in-depth study of individual subjects in the field of humanities, natural mathematics, technical disciplines, differentiation of the educational process in all schools of the country, the introduction of methods for developing creative abilities in students of grades 5-9 in lessons in cultural disciplines.

1. Goal of the work - a review of means and methods for developing the creative potential of middle school students (grades 5-9) in lessons in cultural disciplines (music, fine arts, literature, history, social studies, etc.).

1. Main part

1. Creative potential and its development.

Creative potential is a set of human qualities that determine the possibility and boundaries of his participation in work.

Creative potential is a complex, integral concept that includes natural-genetic, social-personal and logical components, together representing the knowledge, skills, abilities and aspirations of an individual to transform (improve) the world in various fields of activity within the framework of universal human norms of morality and morality.

Any person has creative potential; you just need to create the conditions for its disclosure and development. The process of forming a child’s personality and its abilities can only be carried out through education. But it begins long before school age, almost from the first day of a child’s life. Each individual is born with biological prerequisites for search activity, which is already evident in newborns. But this quality can only take final form and be realized in the process of individual development and training. The development of students' creative potential includes the following components:

• expanding the general horizons and erudition of children, replenishing vocabulary, increasing the level of activity and creativity when performing tasks of any nature and complexity;
• students' mastery of mental and practical skills;
• diagnostics of a person’s creative abilities;
• control of knowledge and skills by the teacher;
• updating the knowledge, skills, and creative abilities of the individual.

The initial prerequisite for the development of abilities in primary and secondary school students are those innate inclinations with which a child is born. If you have the appropriate inclinations, abilities can develop very quickly even under unfavorable circumstances (lack of proper attention from parents and teachers, little practice, superficial theoretical knowledge, etc.). However, excellent inclinations by themselves do not automatically ensure high achievements. On the other hand, even in the absence of inclinations (but not in complete absence), a person can, under certain conditions, achieve significant success in relevant activities.

For a student, all activity is to learn, to acquire a certain set of knowledge, skills and abilities in various subjects. And therefore, the task of teachers is to create conditions for each child so that he can learn all this as much as possible.

1. Structure of creative potential

Creative potential includes components:

Motivational-targeted;

Operational and activity;

Reflective-evaluative.

Motivational-targetedthe component reflects a personal attitude to activity, expressed in goals, interests, and motives. It presupposes that students have an interest in a certain type of activity, a desire to acquire general and special knowledge, skills and abilities. Represented by external motivation, which provides interest in the subject, and internal motivation, which is more significant for creative activity, this is:

Result-based motivation, when the student is focused on performance results;

Motivation by process, when the student is interested in the process of activity itself.

Operational componentbased on the organization of creative activity. It includes methods of mental action and mental logical operations, as well as forms of practical activity: general labor, technical, special. This component reflects students’ abilities to create something new and is aimed at self-determination and self-expression in individual creative activity.

Reflective-evaluative componentincludes: internal processes of comprehension and self-analysis, self-assessment of one’s own creative activity and its results; assessment of the relationship between one’s capabilities and the level of aspirations in creativity.

1. Using tools and techniques to develop the creative potential of an individual in lessons on cultural subjects

To successfully develop the creative potential of students in lessons in cultural disciplines, I use a number of basic methods for organizing the educational cognitive process:

Basic methods of organizing the educational process	Types of work/activities
work with text	a) retelling, searching for answers to the questions posed, and drawing up questions for the text; b) retelling “from the first person”, in which the student is asked to tell the story on his own behalf; c) act out the text “role-playing” (theatrical performance of the song - clip); d) in grades 7-9, work with an additional source when writing essays, speeches, and projects.
working with written assignments of various types	a) different types of tests: closed, half-open and open, when the student himself completes the correct answer options b) tasks like “Add the meaning” and “Insert the missing words”, “Define the concept” or “Select the appropriate term for the definition” c) tasks to build logical chains: insert the missing link, complete a logical series, define a person, concept or term from a description or example d) tasks to identify logical pairs and relationships: “Connect according to the meaning”, “Select a match”, “Determine the identity of concepts” e) tasks to select synonyms, antonyms, paronyms, rhymes for words e) compiling several small words from one complex word simple words, solving word charades g) playing “Field of Miracles” h) filling out tables i) solving puzzles, crosswords, scanwords, etc.
working with illustrative material and artistic creativity	a) creation of drawings, illustrations for text, comics; B) work in special workbooks; c) creation of graphs, diagrams, statistical analyzes, visual models based on graphs

A big role is given to the methodology of working with technical teaching aids. According to their purpose and features of use in teaching, educational and information materials are divided into:

• demonstration (films, slides, videos, etc.);
• control tests (tests, standardized questions and tasks, control programs, etc.);
• control and training (training programs, training programs);
• algorithmizing.

According to UNESCO, when a person listens, he remembers 15% of speech information; when he looks, he remembers 25% of visible information; when he sees and listens, he remembers 65% of the information received. Thus, the need to use TSOs, which as audiovisual means can affect various senses, is undeniable.

The most valuable are research works carried out with students both in class and in extracurricular activities, which contribute to the formation of analytical skills and the ability to work with primary sources.

Research projects often require parental involvement, but an important condition is to explain the essence of project methods and its significance for the development of children’s personality. Parents need to disclose the main stages project activities and the forms of their possible participation in it, so that they do not take on part of the work on projects, otherwise the very idea of ​​the project method will be ruined. But assistance with advice, information, and expression of interest on the part of parents is an important factor in supporting motivation and ensuring the independence of schoolchildren when carrying out project activities.

This method is always focused on students’ independent activities – individual, pair, group. Various forms are used independent activity: research, study of literature, analysis of the work, selection of illustrations.

The individual abilities of students are taken into account: strong ones - a difficult task, weak ones - according to their real capabilities.

The research method makes it possible to apply one’s knowledge in new situations, forms the leadership traits of a creative personality and is a condition for the formation of interest in the subject being studied.

Extracurricular activities play a huge role in the development of creative abilities. It promotes moral and aesthetic education, familiarizes students with cultural traditions, reveals the individual abilities of each child and is able to organize the teenager’s leisure time. That is why it should be interesting and exciting.

A traditional type of extracurricular activity is holding literary and musical evenings. The guys are divided into groups, distribute responsibilities, independently select musical accompaniment, prepare theatrical performances (fairy tales of the peoples of the Volga region), enthusiastically select costumes and scenery, and rehearse. Such work contributes not only to the development of creative abilities, but also artistic and aesthetic taste, and teaches the culture of stage behavior.

1. Diagnostics of the development of students' creative potential.

Among the creators of theories and tests of creativity for children, the most famous is an American psychologist who devoted his entire life to this problem. This is Paul Torrens. Research on creativity was started by him in 1958, but long before that it was prepared by his practical work as a teacher and psychologist with gifted children and adults.

CREATIVITY was defined by P. Torrance as the process of the emergence of sensitivity to problems, lack of knowledge, their disharmony, inconsistency, etc.: fixation of these problems; searching for their solutions, putting forward hypotheses; testing, changing and re-testing hypotheses; And. finally, formulating and communicating the result of the decision (1974). In order to more accurately define what creativity is, Torrance examined at least about fifty formulations.

As a result, he settled on defining creativity as a natural process that is generated by a person’s strong need to relieve tension that arises in situations of uncertainty or incompleteness. Considering creativity as a process makes it possible to identify both creative abilities and the conditions that enable and stimulate this process, as well as evaluate its products (results).

(Appendix No. 1)

1. Expected results

3.1. Main tasks for achieving results

Develop in students:

1) the desire to acquire new knowledge in lessons on cultural subjects;

2) the ability to independently acquire knowledge and study scientific facts;

3) the ability to use the acquired knowledge in practice;

4) creativity and initiative.

3.2 . Planned educational results

1. Students’ mastery of additional educational programs that ensure the full development of the individual.

2. Development of individual motivation for knowledge and creativity.

3. Expanding the cognitive capabilities and creative activity of children.

4. Formation of theoretical knowledge and practical skills, revealing the creative abilities of the individual in the chosen field of activity.

5. Creating conditions for self-realization, self-determination of the individual, and career guidance.

The development of students' creative potential will be successful if:

Pedagogically stimulating factors and new methodological approaches will be found that are adequate to the characteristics of age development and intellectual experience of students, increasing the productivity of thinking;

By expanding the individual experience of cognitive activity;

Educational information will be considered by teachers and students as cultural and educational material, reflecting the intellectual and scientific heritage of mankind and having an open character;

The student will be focused on creating a new original product as a form of the results of his intellectual creativity;

The result of intellectual work will be assessed by himself and the teacher as a valuable product in itself, reflecting the dynamics of his mental activity, personal self-improvement and creating the basis for further self-development.

1. Conclusion.

When choosing means and methods of work to develop the creative potential of middle-level students in lessons in cultural disciplines, the teacher should rely on simple universal methods of working with text, illustrative material, etc.

A significant disadvantage of the modern education system is the contradiction associated with the main goal of the educational process: on the one hand, the school must prepare future specialists in various fields, first of all, teach and provide the necessary amount of knowledge, and on the other hand, form the child’s personality, which can develop independently, independently learn and perceive the world around them.

Resolution of contradictions is possible only with the implementation of an individual and differential approach to training and education, integration of content and approaches, the use of new technologies of developmental education, special training of teachers in theoretical and practical directions, the creation of permanent and problematic creative groups(laboratories) to obtain practical skills and develop teachers’ own creative potential.

Educating a person, a citizen, is a complex, multifaceted, and always relevant task. Creativity is the most powerful impulse in a child’s development. Potential genius lives in every person, and the teacher’s task is to develop the creative powers in the little person. But a creative atmosphere requires freedom and a sense of confidence that creative expressions will be noticed, accepted and properly appreciated.

1. Bibliography

1.Alekseeva, E.A. Creative potential of the individual / E.A. Alekseeva. - Nizhny Novgorod: VGAVT, 1998. - 31 p.

2.Alekseeva, T.B. Culturological approach in modern education: scientific and methodological manual / T.B. Alekseeva. St. Petersburg: Book House, 2008. - 301 p.

3. Bozhovich L. I. Studying the motivation of behavior of children and adolescents. – M., 1972.

4.Vorontsov A.B., Chudinova E.V. Educational activities. M., 2004.

5. Zhuravlev D. Motivation and problems in learning. No. 9, 2002.

6. Korotaeva E.V. On the situation of success in educational activities. - RYAS No. 1, 2003.

Electronic resources:

1. Site materialshttp://www.allbest.ru/ ;

2. Materials from the site http://www.prescol.km.ru/

3. Materials from the site lib.direktor.ru

4. Materials from the site www.vestniknews.ru

Appendix No. 1

There is a huge amount various methods psychodiagnostics of human creative abilities. The most popular of them is the Torrens test.

Creativity according to Torrance (from the Latin creatio - creation) is sensitivity to tasks, deficits and gaps in knowledge, the desire to combine diverse information; creativity identifies problems associated with disharmony of elements, searches for their solutions, puts forward assumptions and hypotheses about the possibility of solutions; tests and refutes these hypotheses, modifies them, double-checks them, and finally substantiates the result.

E. Torrance developed 12 tests grouped into a verbal, visual and auditory battery. The nonverbal part of this test, known as the “Figural forms of the Torrance Test of Creative Thinking” (Figural forms), was adapted at the Research Institute of General and Educational Psychology of the Academy of Pedagogical Sciences in 1990. Another part of the test - “Complete Figures” - was adapted in 1993-1994 in the Laboratory for Diagnostics of Abilities and PVC of the Institute of Psychology Russian Academy Sci.

The E. Torrance figure test we bring to your attention is intended for adults, schoolchildren and children over 5 years old. This test consists of three tasks. Answers to all tasks are given in the form of drawings and captions.

The time for completing a task is not limited, since the creative process presupposes the free organization of the temporary component of creative activity. The artistic level of execution in the drawings is not taken into account.

Torrance creativity test, diagnostics of creative thinking:

Instructions - description for the Torrance test, stimulus material:

Subtest 1. “Draw a picture.”

Draw a picture, using a colored oval spot cut out of colored paper as the basis of the picture. The color of the oval is chosen by you. The stimulus figure has the shape and size of an ordinary chicken egg. You also need to give your drawing a title.

Subtest 2. “Completing the figure.”

Complete the ten unfinished stimulus shapes. And also come up with a name for each drawing.

Subtest 3. “Repeating lines.”

The stimulus material is 30 pairs of parallel vertical lines. Based on each pair of lines, it is necessary to create some kind of (non-repeating) pattern.

Processing the results.

Processing the results of the entire test involves assessing five indicators:“fluency”, “originality”, “elaboration”, “resistance to closure” and “abstractness of names”.

Key to the Torrance test.

"Fluency" - characterizes a person’s creative productivity. Evaluated only in subtests 2 and 3 in accordance with the following rules:

2. When calculating the indicator, only adequate responses are taken into account.

If a drawing, due to its inadequacy, does not receive a “fluency” score, then it is excluded from all further calculations.

The following drawings are considered inadequate:

· drawings in the creation of which the proposed stimulus (an unfinished drawing or a pair of lines) was not used as an integral part of the image.

· drawings that are meaningless abstractions with a meaningless name.

· Drawings that are meaningful but repeated several times are counted as one answer.

3. If two (or more) unfinished figures in subtest 2 are used to create one picture, then the number of points corresponding to the number of figures used is awarded, since this is an unusual answer.

4. If two (or more) pairs of parallel lines in subtest 3 are used to create one picture, then only one point is awarded, since one idea is expressed.

"Originality"-the most significant indicator of creativity. The degree of originality indicates the originality, uniqueness, and specificity of the creative thinking of the test taker. The “originality” indicator is calculated for all three subtests in accordance with the rules:

1. The originality score is based on the statistical rarity of the answer. Common, frequently occurring answers are scored 0 points, all others are scored 1 point.

2. The drawing is evaluated, not the title!

3. The overall score for originality is obtained by adding up the scores for all drawings.

List of answers with 0 points for “originality”:

Note: If the answer “human face” is given in the list of unoriginal answers and the corresponding figure is turned into a face, then this drawing receives 0 points, but if the same unfinished figure is turned into a mustache or lips, which then become part of the face, then the answer is scored 1 point.

· Subtest 1 - only the object that was drawn on the basis of a colored glued figure is assessed, and not the plot as a whole - a fish, a cloud, a cloud, a flower, an egg, animals (entirely, torso, muzzle), a lake, a face or a human figure.

· Subtest 2. - please note that all unfinished figures have their own numbering, from left to right and from top to bottom: 1, 2, 3, ..10.

1. - number (numbers), letter (letters), glasses, human face, bird (any), apple.

2. - letter(s), tree or its parts, face or human figure, panicle, slingshot, flower, number(s).

3. - number (numbers), letter (letters), sound waves (radio waves), wheel (wheels), month (moon), human face, sailing ship, boat, fruit, berries.

4. - letter(s), waves, snake, question mark, human face or figure, bird, snail (worm, caterpillar), animal tail, elephant trunk, number(s).

5. - number (numbers), letter (letters), lips, umbrella, ship, boat, human face, ball (ball), dishes.

6. - vase, lightning, thunderstorm, step, ladder, letter(s), number(s).

7. - number (numbers), letter (letters), car, key, hammer, glasses, sickle, scoop (bucket).

8. - number(s), letter(s), girl, woman, face or human figure, dress, rocket, flower.

9. - number (numbers), letter (letters), waves, mountains, hills, lips, animal ears.

10. - number (numbers), letter (letters), fir tree, tree, twig, bird beak, fox, human face, animal muzzle.

· Subtest 3: book, notebook, household appliances, mushroom, tree, door, house, fence, pencil, box, human face or figure, window, furniture, dishes, rocket, numbers.

"Abstractness of the title"- expresses the ability to highlight the main thing, the ability to understand the essence of the problem, which is associated with the mental processes of synthesis and generalization. This indicator is calculated in subtests 1 and 2. The assessment occurs on a scale from 0 to 3.

· 0 points: Obvious names, simple titles (names) stating the class to which the drawn object belongs. These names consist of one word, for example: “Garden”, “Mountains”, “Bun”, etc.

· 1 point: Simple descriptive names that describe specific properties of drawn objects, which express only what we see in the drawing, or describe what a person, animal or object is doing in the drawing, or from which the names of the class to which it belongs are easily deduced object - “Murka” (cat), “Flying seagull”, “ Christmas tree", "Sayans" (mountains), "The boy is sick", etc.

· 2 points: Figurative descriptive names “Mysterious mermaid”, “SOS”, names describing feelings, thoughts “Let’s play”...

· 3 points: abstract, philosophical names. These names express the essence of the drawing, its deep meaning: “My echo”, “Why leave from where you will return in the evening.”

"Closing resistance"- displays “ability long time remain open to newness and diversity of ideas, delay making a final decision long enough to take a mental leap and create an original idea.” Calculated only in subtest 2. Score from 0 to 2 points.

· 0 points: the figure is closed by the fastest and in a simple way: using a straight or curved line, solid shading or shading, letters and numbers also equals 0 points.

· 1 point: The solution is superior to simply closing the figure. The test taker quickly and simply closes the figure, but then completes it with details from the outside. If details are added only inside a closed figure, then the answer is 0 points.

· 2 points: the stimulus figure does not close at all, remaining an open part of the picture, or the figure closes using a complex configuration. Two points are also assigned if the stimulus figure remains an open part of a closed figure. Letters and numbers - 0 points respectively.

"Elaboration" - reflects the ability to develop invented ideas in detail. Evaluated in all three subtests. Evaluation principles:

· 1. One point is awarded for each significant detail of the drawing that complements the original stimulus figure, while details belonging to the same class are scored only once, for example, a flower has many petals - all petals are considered as one detail. For example: a flower has a core (1 point), 5 petals (+1 point), a stem (+1), two leaves (+1), petals, core and leaves are shaded (+1 point) total: 5 points for the drawing.

· 2. If the drawing contains several identical objects, then the elaboration of one of them is assessed + another point for the idea to draw other similar objects. For example: there may be several identical trees in the garden, identical clouds in the sky, etc. One additional point is given for each significant detail of flowers, trees, birds and one point for the idea to draw the same birds, clouds, etc.

· 3. If items are repeated, but each of them has a distinctive detail, then you must give one point for each distinctive detail. For example: there are many colors, but each has its own color - one new point for each color.

· 4. Very primitive images with minimal “elaboration” are scored 0 points.

Interpretation of Torrens test results.

Add up the scores for all five factors (fluency, originality, abstractness of title, resistance to closure, and elaboration) and divide the sum by five.

Slide captions:

Means for developing the creative potential of middle school students in lessons on cultural subjects Completed by: Alena Ivanovna Danshina, teacher of music and fine arts, State Budgetary Educational Institution Secondary School No. 12 of the village. Schmidt G. O. Novokuibyshevsk

contents 1. Introduction 1.1. Contradictions 1.2. Relevance of the topic 1.3. Goal and objectives 2. Main part 2.1. Creative potential and its development 2.2. Structure of creative potential 2.3. Using tools and techniques to develop the creative potential of the individual in lessons on cultural subjects 2.4. Diagnostics of the development of students' creative potential 3. Expected results 3.1. Main tasks to achieve results 3.2. Planned educational results 4. Conclusion 5. List of references used

Contradictions between the objective need for the development of a student’s intellectual and creative potential, the insufficient development of the theoretical and technological foundations of this problem, the lack of experience in this direction in the practice of general education institutions, the focus of the majority of students on performing activities, between the need for a generation of people who are able to think outside the box, the unpreparedness of a number of teachers for the creation of special development environments by the absence of such models of the educational process that maximally contributed to the formation, development, and improvement of personal qualities I I I

Relevance of the problem The education system is experiencing an acute shortage of experience in creative activity, and there is a need to create new pedagogical programs and methods that will contain a component of developing creative abilities in schoolchildren of different ages. The solution to this problem involves the introduction of methods for developing creative abilities in students in grades 5-9 at lessons in cultural disciplines.

The purpose of the work is to review the means and methods for developing the creative potential of middle school students (grades 5-9) in lessons in cultural disciplines (music, fine arts, literature, history, social studies, etc.).

Creative potential is a set of human qualities that determine the possibility and boundaries of his participation in work. components:  expanding the general horizons and erudition of children, replenishing vocabulary, increasing the level of activity and creativity when performing tasks of any nature and complexity;  students’ mastery of mental and practical skills;  diagnostics of an individual’s creative abilities;  control over the acquisition of skills by the teacher;  updating the knowledge, skills, and creative abilities of the individual

The structure of creative potential is motivational and goal-oriented; meaningful; operational and activity-based; reflective-evaluative Methods for organizing the educational cognitive process working with text working with written assignments of various types working with illustrative material and artistic creativity working with technical teaching aids and the research method in out-of-class work

Diagnostics of the development of students' creative potential (P. Torrance test) Expected results Main tasks for achieving results Develop in students: 1) the desire to acquire new knowledge in lessons on cultural subjects; 2) the ability to independently acquire knowledge and study scientific facts; 3) the ability to use the acquired knowledge in practice; 4) creativity and initiative. Planned educational results 1. Students will master additional educational programs that ensure the full development of the individual. 2. Development of individual motivation for knowledge and creativity. 3. Expanding the cognitive capabilities and creative activity of children. 4. Formation of theoretical knowledge and practical skills, revealing the creative abilities of the individual in the chosen field of activity. 5. Creating conditions for self-realization, self-determination of the individual, and career guidance.

Conclusion When choosing means and methods of work to develop the creative potential of middle-level students in lessons in cultural disciplines, the teacher must rely on simple universal methods of working with text, illustrative material, etc. A significant disadvantage of the modern education system is the contradiction associated with the main goal of the educational process: on the one hand, the school must prepare future specialists in various fields, first of all, teach and provide the necessary amount of knowledge, and on the other hand, form the child’s personality, which can develop independently, independently learn and perceive the world around him.

THANK YOU FOR YOUR ATTENTION THANK YOU FOR YOUR ATTENTION

The question of the structure of creative potential has not yet been resolved in the literature. The empirical path - the principle of compiling “lists of qualities”, “packages of qualities” - seems to us outdated. Almost all the authors involved in this solution to the problem of the structure of an individual’s creative potential made a special reservation: in the “lists” of the most essential qualities, in their opinion, the order of listing is completely random. That is, we are talking about the composition, and not about the hierarchy of elements of the system of a person’s creative potential. G. L. Pikhtovnikov, for example, offers 257 basic qualities.

At the same time, at the level of establishing a hierarchy of connections between elements and qualities of creative potential, the opinions of researchers differ. The principles of structuring are different. There is no consensus on the mechanisms of interaction between the components, qualities, and blocks that make up this structure.

We believe that today there is no need to study the characteristics of a creative personality by identifying its individual properties, that is, empirically. It is more important and more useful, based on already known material obtained empirically, to synthesize the most important properties of a creative personality into a single dynamic system, find out the basic patterns of its functioning, and use the results to deepen ideas about the nature and structure of the individual’s creative potential.

An interesting concept is M. S. Kagan, according to which personality receives its structure from the specific structure of human activity and is therefore characterized by five potentials:

Epistemological,

Communicative,

Axiological,

Artistic and

Creative.

“The creative potential of an individual is determined by his acquired and independently developed skills and abilities, abilities to act, creative and (or) destructive, productive or reproductive, and the extent of their implementation in one or another (or several) spheres of labor, social-organizational and revolutionary- critical activity,” writes M. S. Kagan. It seems controversial to us to isolate creative potential in the system of personality potentials and consider it as one of the structural elements: creativity, being a specifically qualitative characteristic of activity, has a general character, therefore, creative potential is, to one degree or another, contained in each personality potential. It is advisable, in our opinion, to talk about the creative potential of the individual as a single entity and to identify structural elements within this single phenomenon. A person’s personality depends both on social relations and cultural influences, and on the personal data of the individual, his individuality.

A person manifests his individuality in the mastery and development of the culture of a society, nation, ethnic group, as a result of which the transformation of universal abilities (objectified in the products of labor) into individual abilities and creativity occurs. Individualization is the acquisition and development of the “I” by a person, the manifestation of the universal in the individual, the translation of the essential forces of society into the essential forces of the individual.

Individuality is manifested in natural inclinations, a predisposition to certain types of activities with differences in mental makeup. People may be inclined to engage in different types of activities within the same activity. This is one of the reasons for the division of labor and the preservation of different professions. Socialization means the inclusion of a person in the system of social relations.

Personal development is influenced by the totality of social relations as a whole, but this influence is usually mediated by the microsphere - the specific immediate environment. The microsphere largely determines a person’s participation in certain types of activities, guides the choice of activities, and shapes needs, interests and attitudes. A person is simultaneously included in a number of “microspheres” (family, work, team, fellow students, etc.), the influence of which is “multi-vector”.

At the same time, this process is individual, since each person appropriates social relations selectively, not in the same way as other people. The more developed the individual’s individuality, the more critical the assessment and choice of proposed orientations.

The socialization of an individual simultaneously acts as individualization, the process of forming his specific traits and individuality. Socialization does not exist without individuality and vice versa.

We can say that individualization is a specific form of socialization, and socialization is the deep form, the content of the individualization process. Thus, the unity of socialization and individualization can be represented not only as the unity and opposition of essence and phenomenon, but also of content and form. This unity is formed in the process of the individual’s participation in diverse types of social activities, and the wider the range of social activities, the more fully developed the individual is, the more clearly his individuality is manifested.

Indeed, today there is not a single concept of creativity and talent that does not recognize the role of motives. However, this is usually a summary approach or, at best, as in Renzulli, what is being sought is determined “at the intersection” of equivalent factors.

In contrast, our approach is based on a single criterion of an individual’s creative potential, which is a selected unit of analysis of creativity, which we reveal as the ability to develop activity on the initiative of the subject himself. As a synonym for this concept, our works use the terms: situationally unstimulated productive activity, cognitive initiative and intellectual activity (IA).