Report on the topic "aesthetic education in technology lessons." Pedagogical conditions for aesthetic education in technology lessons Education of artistic and aesthetic taste in technology lessons
GKS(K)OU for students, pupils with disabilities health "Sosenskaya special (correctional) general education boarding school of the VIII type
self-education
labor training teachers
(sewing)
Soboleva Irina Nikolaevna
Self-education topic for the 2014-2015 academic year:
« Aesthetic education at labor lessons"
G.Sosensky
Target:
The study of a set of methods and means of arousing children’s interest and their emotional experience of the beauty of the world around them, the beauty of human affairs and actions in order to develop students’ aesthetic ideas, feelings, tastes, and ideals.
To achieve this goal, the following tasks were identified:
Tasks:
Introduce active methods and forms of learning that develop educational and cognitive motives.
Use in the process of teaching and raising children innovative technologies.
Fostering a conscious need for work, improving work skills in the classroom.
Correction and development of mental processes in students through individualization and differentiation of lessons.
Improve teaching skills.
Plan career guidance work according to the health status of students, their interests and capabilities.
Directions of self-education:
1. Professional (sewing)
2. Methodological (innovative pedagogical technologies)
3. Psychological and pedagogical (student-oriented)
4. Social (participation in school life)
The development of aesthetic taste is an important part of the formation of personality and the development of a child. Understanding the beautiful, enjoying art (both objects and the process of creation) - without this it is impossible to imagine a comprehensively developed personality, whose education is the goal of the pedagogical process. The teacher’s activities in labor lessons in this direction can radically influence the views and ideas of a future member of society, help his abilities and develop his emerging abilities and inclinations.
In the conditions of lesson activities in labor lessons, it is possible to purposefully and systematically develop in students a sense of beauty and harmony, and the ability to perceive the world of artistic images.
One of the categories of aesthetic education is complex socio-psychological education - aesthetic taste. A.A. Krivchuk defines it as “a relatively stable personality property, which enshrines norms and preferences that serve as a personal criterion for the aesthetic assessment of objects or phenomena.” D.B. Nemensky defines aesthetic taste as “immunity to artistic surrogates” and “thirst for communication with genuine art.”
Aesthetic taste is a subjective criterion of aesthetic evaluation, which is to a certain extent intuitive, that is, it emotionally precedes rational aesthetic judgment. Good aesthetic taste is expressed in the ability to receive pleasure from the truly beautiful and emotionally reject the ugly, as well as the need to perceive, experience and create beauty in work, in behavior, in everyday life, in art.
The formation of aesthetic taste is considered as not a momentary process, but a long-term process over the time of its formation.
Thus, perception is a function of aesthetic feeling, on the basis of which individual aesthetic taste grows, forms and develops.
The teacher is important in the system of aesthetic education, since it is he who demonstrates to students an example of aesthetic culture, and he is its bearer.
The entire system of aesthetic education is aimed at the overall development of the child, both aesthetically and spiritually, morally and intellectually. This is achieved by solving the following tasks: the child mastering the knowledge of artistic and aesthetic culture, developing the ability for artistic and aesthetic creativity and the development of aesthetic psychological qualities of a person, which are expressed by aesthetic perception, feeling, evaluation, taste and other psychological categories of aesthetic education.
Education through beauty and through beauty forms not only the aesthetic and value orientation of the individual, but also develops the ability to be creative, to create aesthetic values in the sphere of work, in everyday life, in actions and behavior and, of course, in art.
As a teacher in the educational field of technology, I am especially concerned about the problem of artistic and aesthetic education of students, aimed at developing in children the ability to feel and understand beauty in nature, art, and developing artistic taste.
The educational subject “labor training” has a number of features that allow the formation of aesthetic taste. Among them, it is necessary to highlight the following: predominantly creative in nature and a variety of forms, types of educational and cognitive activities. According to Yu. K. Babansky, a special place in labor lessons in the formation of the aesthetic taste of schoolchildren is occupied by the teacher’s use of various types of educational and cognitive activities. He notes that the teacher has a considerable arsenal of means of forming a positive attitude towards work (explaining the meaning and significance of work, setting prospects for work, collectively solving work problems, game moments, etc.). At the same time, students have a desire to combine benefit and beauty in their work, for example, to beautifully decorate an office, workshop, or area. Aesthetic education in work is one of the aspects of an integrated approach to education, the implementation of which is the most important condition for increasing the effectiveness of the pedagogical process. From the point of view of I.P. Volkov, the educational process of technology lessons should include a variety of types of work, encouraging the manifestation of creativity. Such a variety of work and multifaceted testing of one’s strengths makes it possible to identify each individual’s individual abilities and provide conditions for development, making the learning process interesting for children.
I actively implement innovative technologies into my work:
- Information and communication technologies:Result: The use of ICT contributes to the development of intellectual and creativity students, the formation of their value orientations, motivation to learn, and successful socialization.
- Problem-based learning technology:Result: This technology contributes to the development of student independence, all areas of his personality, ensures the student’s subjectivity in educational process.
- Design technology:Result: Students are involved in a creative situation, they develop a large number of skills and abilities, which ensures not only the successful assimilation of educational material, but also their intellectual development.
- Gaming technology(in grades 5-9)Result: Students are involved in a game situation, they develop a greater amount of knowledge, skills and abilities, which ensures better assimilation of educational material and intellectual development.
- Technology of individual-team training:Result: accumulation of the necessary amount of knowledge, development of student independence, development of communication abilities.
- Control and correction technology: Result: Technology contributes to the development of all areas of the student’s personality, communication abilities, and independence.
The result of self-education:
During this time, I gained experience in selecting tasks for students, taking into account their individual characteristics, and accumulated methodological and visual material. When conducting labor lessons, I have the opportunity to systematically and consistently form in students an aesthetic attitude towards work, which, first of all, is manifested in the high-quality performance of tasks and work culture.
This work has prospects for development, namely the creation of educational and methodological complexes for various types of handicrafts, containing theoretical material, objects project activities and diagnostic methods.
Work on developing the aesthetic taste of schoolchildren in technology lessons should be systematic and purposeful. It is expected that this work will continue in the next academic year.
It is necessary to develop a diagnostic to determine the level of development of aesthetic taste at the beginning and end of the school year, which will allow us to determine further, individual work with students.
During the year I study the following literature:
Lobova, A.F. Theoretical basis formation of children's aesthetic attitude towards people / Ural. state ped. univ. Ekaterinburg, 2000. – 24 p.
2. Sarge, A.V. The formation of aesthetic taste in the labor training of schoolgirls 5-8
classes modern school: dissertation of a candidate of pedagogical sciences. St. Petersburg,
1997. – 11 p.
3. The system of aesthetic education in school // Pedagogy / ed. Yu. K. Babansky.
M. "Enlightenment", 1983
4. Silaev N. E. “Aesthetics of Labor”
5. Sukhomlinsky “On Education”
6. Tseytlin N. E. “Work culture in training workshops”
Introduction
Chapter 1. Aesthetic education of junior schoolchildren as a psychological and pedagogical problem
1.1 Aesthetic education: concept, tasks, ways of implementation
1.2 Age-related features of the development of the cognitive sphere of younger schoolchildren
2.1 Primary school teachers’ implementation of the tasks of aesthetic education of schoolchildren in the process of labor training
2.3 Experience in developing and conducting lessons
Conclusion
Bibliography
Applications
Introduction
The role of aesthetic education in the formation of personality and its comprehensive development is difficult to overestimate. Already in ancient times, the importance of beauty in human life and activity was noted. The influence of art as the most important element of beauty and aesthetic attitude to reality on a person is exceptionally great and diverse. It contributes to the development of consciousness and feelings of the individual, his views and beliefs, plays a large role in the formation of morality, and creates conditions for the spiritual elevation of a person.
The aesthetic assimilation of reality by man is not limited to activity in the field of art: in one form or another it is present in all creative activity. In other words, a person acts as an artist not only when he directly creates works of art, devotes himself to poetry, painting or music. The aesthetic principle lies in human labor itself, in its activities aimed at transforming the surrounding life and oneself. Aesthetic development of personality begins at an early age. It is very difficult to form aesthetic ideals and artistic taste when the human personality has already taken shape. It is necessary to pay special attention to the aesthetic education of school-age children, starting from the primary grades. In this regard, the role of teachers is increasing, who, while carrying out the educational process, competently solve educational problems, including the tasks of aesthetic education of younger schoolchildren.
Our survey of primary school teachers showed that in practice teachers often do not fully realize the importance of aesthetic education in the learning process, therefore the educational potential of school subjects remains unrealized. Disciplines such as fine arts, music, the world, literary reading, origins, as well as labor training.
Everything that was said determined the choice research topics– “Aesthetic education of junior schoolchildren in labor training lessons.”
Object of study- aesthetic education of junior schoolchildren as pedagogical phenomenon. Subject of study- activities of primary school teachers in the aesthetic education of schoolchildren during labor training lessons.
Purpose of the study: to justify the content of the activities of a primary school teacher in the aesthetic education of junior schoolchildren during labor training lessons.
Achieving this goal is associated with solving the following tasks :
1. Expand the concept, tasks, ways of implementing aesthetic education.
2. Characterize the age-related features of the development of the cognitive sphere of primary schoolchildren.
3. To identify the level of implementation by primary school teachers of the tasks of aesthetic education of schoolchildren in the process of labor training.
4. Determine and describe the main directions of aesthetic education of younger schoolchildren in labor training lessons.
5. Present the experience of developing and conducting labor training lessons in elementary school.
The following were used during the study: methods like studying scientific literature and regulatory documents, studying the products of children's activities, questioning teachers, observing children's activities, summarizing teaching experience.
Approbation of research results was carried out through a presentation at the scientific and practical conference of teachers and students of the Vologda Pedagogical College “Modern pedagogical process: content, methods, techniques, forms” (2008).
Chapter 1. Aesthetic education of junior schoolchildren as a psychological and pedagogical problem
1.1 Aesthetic education: concept, tasks, ways of implementation
In its most general form, aesthetic education can be defined as a purposeful process of forming a creatively active personality of a child, capable of perceiving and appreciating the beautiful, tragic, comic, and ugly in life and art, living and creating “according to the laws of beauty.”
In the “Dictionary of Pedagogy” by G. M. Kodzhaspirova, the term “aesthetic education” is described as follows: the development and improvement in a person of the ability to perceive, correctly understand, appreciate and create beauty in life and art, to actively participate in creativity, creation according to the laws of beauty.
The concept of "aesthetic education" is organically connected with the term "aesthetics", which comes from the Greek word "aesthesis" - sensual. This word was first introduced by the German art theorist Baumgarten as the name of a certain science. His work "Aesthetics" was published in 1750. Since that time, aesthetics has become an entire branch of scientific knowledge. But aesthetics itself originated much earlier: its origins go back to ancient times. Already at the dawn of civilization, man developed the ability to feel the beauty of the objects around him.
Aesthetic education refers to the process of developing feelings in the field of beauty. But in aesthetics, this beauty is associated with art, with the artistic reflection of reality in the consciousness and feelings of a person, with his ability to understand beauty, follow it in life and create it. In this sense, the essence of aesthetic education, according to I. F. Kharlamov, is the organization of various artistic and aesthetic activities of students, aimed at developing in them the ability to fully perceive and correctly understand the beauty in art and life, to develop aesthetic concepts, tastes and ideals , as well as the development of creative inclinations and talents in the field of art.
The concept of “aesthetic education” is the most general in the theory of aesthetic education. It includes a number of concepts dependent on it. Among them it should be noted: aesthetic development, aesthetic taste, aesthetic ideal, aesthetic feeling.
Aesthetic development is the process of purposeful formation in a child of essential forces that ensure the activity of aesthetic perception, creative imagination, emotional experience, as well as the formation of spiritual needs.
Aesthetic taste is a person’s ability to evaluate objects, phenomena, situations from the point of view of their aesthetic qualities. An essential component in the manifestation of taste is the aesthetic ideal.
An aesthetic ideal is a holistic, socially conditioned, concrete sensory image, which is the embodiment of people’s ideas about the perfection of beauty in nature, society, man, and art.
Aesthetic feeling is a subjective emotional experience of an aesthetic attitude towards objects and phenomena of the surrounding world. Aesthetic feeling is expressed in spiritual pleasure or disgust that accompanies the perception and evaluation of an object in the unity of its content and form. The development and education of aesthetic sense is aimed at forming an aesthetic ideal in students and their assimilation of aesthetic norms and assessments.
G. S. Labkovskaya notes that the goal of aesthetic education is to develop the aesthetic activity of the individual not only in artistic activity, but above all, in practical life - in a person’s relationship to nature, to other people and to himself, to customs, forms of behavior , to the world of things surrounding a person, and finally, to art.
The objectives of aesthetic education are:
1. Formation of aesthetic consciousness, which includes a body of knowledge on the basics of aesthetics, world and domestic culture, the ability to understand and distinguish what is truly beautiful in art, folk art, nature, and a person from a surrogate.
2. Formation of aesthetic feelings and tastes; pedagogically correct counteraction to the disorienting influences of pseudoculture; development of motivations (needs, interests) and abilities for artistic and creative activities.
3. Formation of methods of artistic and creative activity; support for gifted children: developing experience (skills) in organizing the living environment, work, learning, taking into account aesthetic norms and needs.
I. F. Kharlamov emphasizes that since aesthetic education is carried out primarily through art, its content should cover the study and introduction of students to various types and genres of art - literature, music, fine arts. The inclusion of Russian language and literature, fine arts and music in the school curriculum serves precisely this purpose. An essential aspect of aesthetic education is also the knowledge of beauty in life, in nature, in the moral character and behavior of a person.
An equally important aspect of the content of aesthetic education is its focus on the personal development of students. First of all, it is necessary to form students’ aesthetic needs in the field of art, in comprehending the artistic values of society. The most important element of the content of aesthetic education is the development of artistic perceptions in students. These perceptions must cover a wide range of aesthetic phenomena. In particular, it is necessary to teach schoolchildren to perceive beauty in various types of art, in nature, in the surrounding life and in people’s behavior.
An essential component of aesthetic education is the acquisition of knowledge related to the understanding of art and the ability to express one’s judgments (views) on issues of artistic reflection of reality. This is related to the formation in students of ideas and concepts about the specifics of how this reality is reflected in various types and genres of art, and the development of the ability to analyze the content and moral and aesthetic orientation of art.
Great place The content of aesthetic education is focused on the formation of artistic taste in students, associated with the perception and experience of beauty. It is necessary to teach schoolchildren to feel the beauty and harmony of a genuine work of art, to show artistic discernment, as well as the desire to improve the culture of behavior.
An important content component of aesthetic education is the introduction of students to artistic creativity, the development of their inclinations and abilities for music, fine arts and literature. L.N. Tolstoy expressed the belief that every child has various needs for artistic creativity, which must be developed and used for educational purposes.
Finally, aesthetic education should be aimed at revealing and understanding the civic basis of art and contribute to the formation of social views and beliefs in students, as well as morality.
V.I. Smirnov identifies the following ways of implementing aesthetic education:
aesthetic education and education in educational activities(training classes in language, literature, history, music, fine arts, world and domestic artistic culture) and in various forms and types of extracurricular educational work;
·introduction to artistic and creative activities in institutions of general and additional education, culture, etc.
Aesthetic education in itself is carried out only in close unity with all other types of education. For example, the mental education of students, if it is carried out fully, should not be divorced from moral and aesthetic education, otherwise it will simply cease to be education and will be reduced to coaching and cramming.
Aesthetic education cannot be carried out without ideological, political, intellectual and moral criteria. Being a phenomenon of an ideological order, it essentially performs a specific historical, social function.
The unity of the aesthetic and intellectual is determined by the fact that a person’s aesthetic attitude to reality is based on knowledge. Aesthetic education is inseparable from such intellectual feelings as curiosity, inquisitiveness, and interest. Moreover, further, more in-depth development of aesthetic perception cannot do without intellectual elements.
Movements of thought, various ideas and associated associative representations are inseparable from the aesthetic feeling when it becomes meaningful. This is especially so since aesthetic mastery is associated with the pleasure of penetrating into the depth of the content of an object; it is the result of a kind of creative cognition.
All school education as a whole has as its common task the formation of a harmoniously developed personality. Each academic subject performs its own special function, provides knowledge in a certain area, develops certain abilities, and reveals to schoolchildren some aspect of reality.
Thus, educational activity is one of the ways to implement aesthetic education. Many academic disciplines have the potential for aesthetic education of younger schoolchildren: fine arts, music, the environment, literary reading, origins, as well as labor training.
1.2 Age-related features of the development of the cognitive sphere of younger schoolchildren
When carrying out aesthetic education, it is necessary to know and take into account the age-related characteristics of the development of the cognitive sphere of younger schoolchildren.
Thinking is the most complex cognitive mental process, characteristic only of humans. Thinking is a very complex and multifaceted mental activity, and its characteristics cannot be simple and unambiguous.
There are 3 main types of thinking: objective-effective, visual-figurative and abstract. Subject-specific thinking is a type of thinking associated with practical actions on objects. Visual-figurative thinking is a type of thinking that is based on perception or ideas. This type of thinking is typical for preschoolers and, to some extent, children of primary school age. Abstract thinking, which primarily characterizes older schoolchildren and adults, is thinking in terms of concepts devoid of direct clarity inherent in perception and ideas.
Children think very concretely and tend to take everything literally, so in classes with primary schoolchildren one must beware of any figurative meanings. If you need to give children certain general principles, they must be specified with some example, illustration, etc. The same applies to new concepts: they should be illustrated by the child’s experience, pictures, visual aids, etc.
Understanding requires knowledge, but isolated, fragmentary knowledge is not everything for understanding. It is necessary to connect this knowledge so that the meaning of the whole becomes clear.
The younger student is prone to visual thinking. It helps him a lot in understanding, since one image, one picture can immediately cover something that sometimes requires a long series of phrases.
Temporary and especially causal connections are not easy for a primary school student. Logic is not sufficiently developed in younger schoolchildren. Children may not understand: 1) individual facts, 2) connections between them, 3) evidence and explanations. In the first case, the cause of misunderstanding is simply ignorance: if I don’t know something at all, I, of course, don’t understand it. The child understands the connection between factors if it is easy to see or mentally trace. The child often does not understand the evidence, because His logical thinking is poorly developed. Causal explanations are easier for him if they go from cause to action or if they are explained by intention, a goal, moreover, close to those that children set for themselves.
At primary school age, the development of perception continues. Perception becomes an increasingly focused and controlled process. Syncreticism in younger schoolchildren is expressed less and less due to the increasing attention to the relationships of parts as a whole, the desire to find semantic connections when perceiving an object.
However, it is easy to see some uniqueness of perception in a younger student. It is caused to a large extent by errors in the knowledge of space. Errors in recognizing geometric bodies indicate a low level of children's orientation in shapes. Children also easily confuse three-dimensional bodies with flat shapes. There is only one reason for this - the lack of special training for children to see an object in the third dimension, which is learned primarily through touch, in the process of modeling, and constructive activity.
Many first-graders, when copying letters and numbers into their notebooks from the board or from a book, make typical mistakes. Most often they write in a mirror way, i.e. turn a sign over, skip or add elements, merge two signs. Similar errors have common cause: unity of the perceived sign. The child grasps only the general appearance of the sign, but does not see its elements, structure, or spatial relationships of these elements.
At primary school age, a special type of perception—listening—develops significantly. For schoolchildren, listening becomes not only a means, but also a type of educational activity. Listening is included in any lesson because... all the student’s actions, his success, and therefore his grade, primarily depend on his ability to listen to the teacher’s explanations and instructions. In addition, children listen with a critical focus to the answers, solutions, and explanations of their classmates. Listening, like reading, becomes a unique form of mental activity for children.
The perception of any object and its image is a reflection of the whole in the relationship of its constituent parts. These relationships between the whole and the part are changeable and mobile. Any process of perceiving an object as a whole requires isolating its features, sides, parts (analysis) and establishing connections between them (synthesis). Such mental activity appears most clearly in the perception of complex content: a picture, a text, the perception of which requires understanding, that is, it is a form of complex mental activity.
The process of developing the perception of a plot picture goes through three levels: enumeration, description and interpretation. These levels indicate varying degrees the child’s understanding of the content given to him and depend on: a) the structure of the picture; b) the degree of closeness of its plot to the child’s experience; c) the form of the question posed; d) the child’s general culture, observation skills; e) the development of his speech.
The development of perception is a transition from a child’s united, syncretic, fragmented perception of objects to a dissected, meaningful and categorical reflection of things, events, and phenomena in their spatial and temporal causal relationships. With the development of perception, its structure and its mechanism also change. The word begins to play an increasingly important role as a means of analysis and generalization of perceived content.
Attention is not a mental process. This is the mental state of a person, expressed in concentration on something. Attention expresses a person’s attitude towards a certain object. There are three types of attention depending on what causes it.
1. Involuntary (primary) attention is attracted by a bright, unexpected, strong stimulus.
2. If a student is interested in something (books, films, etc.), then his attention is attracted and held by those objects or phenomena that satisfy this interest. This is secondary involuntary attention. It does not require effort from the student; it is attracted by the object itself, but not by its brightness or unusualness, but by the content that meets the direction and interests of this student.
3. Voluntary attention is directed by a person’s volitional effort, awareness of the need to be attentive.
Every teacher knows that it is impossible to base daily work on the volitional voluntary attention of children, especially in the first stages of education. It requires a lot nervous tension and proves very difficult for young students. You should focus on the second type of attention, which is supported by interest - post-voluntary, secondary attention.
It arises where children must think about their work, look for solutions, find similarities and differences, known in the new and already familiar, disassemble and draw conclusions, reason and prove. In a word, attention is supported by active mental activity. If it is interesting and productive, it “holds” the attention of children without requiring much nervous tension from them. But not everything in educational activities is interesting, and children need to little by little develop the ability for volitional concentration.
The main qualities of attention are its volume, concentration (power of concentration) and stability (duration of concentration). Attention span is the number of objects that a person can simultaneously “grasp” with equal clarity. The child has a short attention span. Therefore, if he has to immediately familiarize himself with two new alphabetic or numerical signs, with two similar paintings or poems with similar semantic content, “confusion” of the perceived objects occurs. In this case, it is very advisable to introduce a comparison technique.
Concentration of attention characterizes the strength of a person’s concentration and is determined by the strength of a new stimulus that is necessary to extinguish the previous dominant and create a new one. Young schoolchildren have little concentration power.
Sustainability of attention. Also, younger schoolchildren have little time to maintain one dominant. All teachers know how long, with unflagging attention, children can listen to an interesting and understandable story. But at the same time, teachers are also well aware of the quick distractibility of the attention of young schoolchildren, the difficulties of concentrating on something uninteresting, but necessary, especially for a long time - the absent-mindedness of children. Being absent-minded means not being able to concentrate on one thing for a long time. One of the most common causes of absent-mindedness in children is their easy and rapid fatigue. It comes on especially quickly when doing difficult, uninteresting and monotonous work.
Often the reason for the absent-mindedness of children, especially very impressionable, well-developed, well-read and thinking children, is their lack of the necessary flexibility of attention or its switchability.
In view of the above, the conditions for organizing children's educational activities are: a good pace of the lesson and its thoughtful organization; clarity, accessibility and brevity of explanations, instructions, instructions from the teacher; maximum reliance on the active mental activity of children; teacher’s careful attitude towards children’s attention; variety of types and forms of work; inclusion of all students in educational activities.
A child’s memory is characterized by great plasticity, which creates favorable conditions for the rapid passive imprinting of material and its easy forgetting. As the child develops, memory becomes selective: the child remembers better and for a longer period of time what is interesting to him, and uses this material in his activities.
Memory development is expressed in the following:
a) the volume of memorization increases;
b) the completeness, consistency and accuracy of the reproduced material increases;
c) memorization is increasingly based on semantic connections, which provides the student with the opportunity to freely operate acquired knowledge in different conditions, provides a greater volume of memorization and duration of retention;
d) memory becomes arbitrary;
e) children master rational methods of learning.
Developing a child's memory increases the possibilities for developing his imagination. Anticipating the result of one's own action is the beginning of the development of imagination. Formed on the basis of imitation and the child’s own activity, the imagination from being reproducing, fragmentary, becomes increasingly creative, logical and rich.
In the process of the child’s general development, memory activity becomes more and more manageable. Developing random memory. Involuntary memorization retains its significance.
The activity of memory and imagination also changes depending on the motives that prompt the child to make effort: memorizing and recalling perceived material, creating a new drawing or composition. Imitative and involuntary activity turns into creative activity, which the child learns to control, subordinating it to the accepted task.
Highlight Various types memory depending on what a person remembers more successfully and how he prefers to remember. The most significant differences appear between visual-figurative and verbal-logical types of memory. Some people remember better visual images of objects and events, others remember thoughts expressed in words.
The peculiarities of memorization are associated with the peculiarities of children’s perception and comprehension of various educational material.
Memory consists of remembering, preserving and subsequently recognizing and reproducing what was in the child’s past experience. Each student remembers and reproduces material differently. And not only better or worse, but in its own way, because there are large individual differences in memory. It can be good in relation to some objects, phenomena and bad in relation to others. Some children remember poetry very well and very poorly remember mathematical formulas and rules, while others do the opposite. Some students can quickly remember what they have learned and give the desired answer, while others cannot quickly and easily reproduce what they once remembered.
Verbal-logical memory is expressed in the predominant memorization and reproduction of theoretical positions and verbal formulations. Figurative memory is closely related to imagination.
Some children have more developed visual memorization; they need visual perception of what needs to be remembered. Others remember better what they heard or read out loud. In the process of schooling, a child needs verbal-logical, figurative, auditory, and visual memory. It is important to know which memory a child has weaker in order to develop it.
Developing memory of any type helps to be interested in the material (the child does not remember everything equally, but mainly what is essential for him), and a positive attitude towards what is memorized. The worst thing to remember is what is indifferent. I want to remember what I liked. The desire to remember, the active position of the student contributes to the development of his memory. Therefore, for the development of a child’s memory, not only and not so much special memorization exercises are useful, but stimulating interest in knowledge, in individual academic subjects, and developing a positive attitude towards them.
Imagination is a cognitive process that consists of creating new images, on the basis of which new actions and objects arise. The main function of imagination is the transformation of experience. According to the degree of independence of imagination and the originality of its products, two types of imagination are distinguished - recreative and creative.
Recreating imagination is the presentation of objects new to a person in accordance with their description, drawing, diagram. This type of imagination is used in a wide variety of activities. It plays a particularly important role in teaching.
When mastering educational material expressed in verbal form (teacher’s story, textbook text), the student must imagine what is being discussed; for example, imagine seas, lakes, mountains, unfamiliar plants, animals. The recreating imagination relies only on knowledge. If knowledge is insufficient, then ideas may be distorted: for example, some children imagine a mammoth as tall as a four-story building.
To create in students the right ideas about new educational material, it is necessary not only emotionally, but also to clearly and accurately talk about it. For the same purpose, it is important to supplement verbal information with visual material. Reliance on visual material always helps the work of the recreating imagination - the recreated image becomes more accurate, it more correctly reproduces reality.
In contrast to the recreating imagination, creative imagination is the independent creation of new images in the process of creative activity. Creative activity is an activity that produces new, first-time, original products that have social significance: the discovery of new laws in science, the invention of new machines, the creation of works of art, literature, etc.
Without a sufficiently developed imagination, a student’s educational work cannot proceed successfully. The more imagination participates in all cognitive processes of a student, the more creative his educational activities will be.
The teacher needs to know the age-related characteristics of the psychological development of schoolchildren in order to successfully organize the educational activities of children.
Thus, the theoretical analysis carried out in the first chapter allows us to draw the following conclusions. The essence of aesthetic education is the organization of a variety of artistic and aesthetic activities of students, aimed at developing their abilities to fully perceive and correctly understand the beauty in art and life, at developing aesthetic concepts, tastes and ideals, and developing the creative inclinations of children.
Aesthetic education can be carried out through involvement in artistic and creative activities in institutions of general and additional education, culture, etc., as well as in educational activities and in various forms and types of extracurricular educational work. Basically, the tasks of aesthetic education in the educational process of primary school are solved with the help of school subjects such as music, fine arts, literary reading, the outside world and labor training. When carrying out aesthetic education, the teacher must take into account the age-related characteristics of the development of children’s thinking, perception, memory, and imagination and build the educational process in accordance with these characteristics.
Chapter 2. Contents of the work of a primary school teacher on aesthetic education of schoolchildren during labor training lessons
2.1 Primary school teachers’ implementation of the tasks of aesthetic education of schoolchildren in the process of labor training
In order to study the characteristics of the work of primary school teachers in the aesthetic education of schoolchildren during labor training lessons, we conducted a survey. 14 people took part in the study. These are 8 teachers of Vokhtozhskaya high school No. 1, 4 teachers from Vokhtozh secondary school No. 2, a teacher from school No. 40 and a teacher from school No. 23 in Vologda.
The respondents were asked a questionnaire (see Appendix 1) consisting of 9 questions: 3 open questions and 6 closed questions. Question 1 requires the choice of one answer option, and in questions 4, 5, 6, 7, several answer options are possible. In the content part, the questions sought to identify teachers’ opinions on the following positions:
· the need to solve the problems of aesthetic education in the learning process (question 1);
· school subjects that have great potential in aesthetic education (question 2);
· the relationship between labor training and other school disciplines in the field of aesthetic education (question 3);
· the essence of the term “aesthetics of labor”; the most complete answer will be if you select all the proposed answer options (question 4);
· elements of the labor process that promote aesthetic education; the labor process includes clarity, correctness of actions, and creativity of children (question 5);
· aesthetics of the student’s workplace (question 6);
· requirements that guide teachers when choosing an object of work (question 7);
· methods of work of the teacher, which to a greater extent contribute to aesthetic education in labor training lessons (question 8);
· the effectiveness of fulfilling the tasks of aesthetic education in primary schools today (question 9).
The study showed that all respondents see the need to solve the problems of aesthetic education in the learning process. According to respondents, fine arts lessons have the highest aesthetic potential. But other school disciplines were also offered: music - 11 people, labor training - 11 people, the environment - 8 people, literary reading - 6 people, origins - 5 people. 3 people noted that all school subjects have aesthetic potential. Only one respondent noted 1 school subject. One questionnaire contains 2 school subjects, three questionnaires – 3 subjects, five questionnaires – 4 subjects, one questionnaire – 5 subjects.
Teachers noted the connection between labor training and the following subjects: fine arts - 14 people, the environment - 7 people, music - 6 people, literary reading - 3 people. The connection with only one subject was indicated in 4 questionnaires, with two – in 5 questionnaires, with three – in 4 questionnaires, with four – in 1 questionnaire.
6 people believe that the aesthetics of work involves creative process, the beauty of actions, beautiful, quality products as a result of labor, the correct organization of working conditions for students, 3 people - the creative process, the beauty of actions and beautiful, high-quality products as a result of labor, 2 people - the correct organization of working conditions and the creative process, the beauty of actions. Three respondents chose one answer option each.
According to 8 people, the labor process that contributes to aesthetic education includes children’s creativity. 6 people believe that it includes clarity, correctness of actions and creativity of children, in which they turned out to be right.
To the question “What is the aesthetics of a student’s workplace?” - the answers were distributed as follows: 10 people chose beautiful design, order, convenience, correct arrangement of equipment, 3 people - order, convenience, correct arrangement of equipment, 1 person - beautiful design. One teacher noted the quality of the equipment. It follows that teachers are not fully aware of the aesthetics of a student's workplace.
It should be noted that when choosing an object of labor, 8 people take into account the interest of children, the appearance of the object of labor, the age characteristics of children, 4 people - the interest and age characteristics of children, 2 people - the appearance of the object of labor and the age characteristics of children. Only 8 out of 14 people named all the factors that need to be taken into account when choosing an object of work. 2 people added such a factor as seasonality, 1 person added material possibilities.
To the question “What methods of work of a teacher contribute more to aesthetic education in labor training lessons?” - the answers were distributed as follows: 9 people wrote an illustrative method, 8 people wrote a conversation, 3 people wrote product samples, 1 person wrote a design method. Two teachers with higher education found it difficult to answer the question.
10 people rated the effectiveness of the tasks of aesthetic education in primary schools today at 4 points, 2 people - at 3 points, 2 people - at 5 points.
In general, the survey showed that primary school teachers do not fully understand the importance of aesthetic education in the process of vocational education. They were complicated by the question of the teacher’s working methods and the question of the labor process that contributes to aesthetic education. When choosing an object of labor, many teachers do not take into account factors such as the interest of children and the appearance of the object of labor. The respondents understand that the implementation of the tasks of aesthetic education today is ineffective. However, it is known that the level of work of a school as a whole is determined by the quality of work of each teacher.
In our opinion, the possibilities of aesthetic education in labor training lessons are very wide and versatile. The course Labor training of authors V.I. Romanina, V.G. Mashinistov, N.M. Konysheva provides for the solution of such problems as the development of fantasy, imagination, creative, technical and artistic thinking.
An important condition for the implementation of aesthetic education in labor training lessons is an organic connection with some other primary school subjects. For example, fine art: theme, plot, composition, color, design elements; development of a sense of beauty, etc.; music: rhythm, tempo, emotional mood, positive energy, creating an artistic image, etc. Thus, when implementing a system of aesthetic education in labor training lessons, it is necessary to widely use interdisciplinary connections.
An analysis of the program of V. I. Romanina, V. G. Mashinistov, N. M. Konysheva and the program of T. M. Geronimus for labor training made it possible to identify a number of requirements for lessons. Compliance with these requirements is aimed at optimizing the educational activities of schoolchildren and at the successful implementation of the tasks of aesthetic education in labor training lessons.
First of all, it is necessary to take into account the age characteristics of primary school students: rapid fatigue, loss of interest in case of failure and, accordingly, a decrease in attention. Therefore, when choosing a product to manufacture, it is advisable to plan the amount of work for one lesson; if more time is required, children should know in advance what part of the work will be left for the second lesson. Difficult operations that require significant mental labor, tension and muscular dexterity must be recognized by children as necessary.
The lesson must have a specially organized part aimed at ensuring an unconditional understanding of the essence and procedure for performing practical work, and properly equipped independent activity child to transform the material into a product. Moreover, three times less time should be allocated for the theoretical part of the lesson than for practical actions.
Theoretical work should be organized in a dynamic, fun, exciting way. If possible, introduce game elements in grades 1-2. And independent practical actions should be carried out slowly, in a strictly individual rhythm, ensuring the formation of labor skills at the proper level.
It is imperative to rely on the child’s life experience acquired in preschool institutions, as well as at home.
At each stage of training it is necessary to consolidate work culture skills:
· organize correctly workplace after analyzing the product, the work and drawing up a plan for their implementation: select materials, choose tools, arrange them so that it is convenient to use them - you work right hand, put on the right; work with your left hand, place on your left;
· maintain order in the workplace during the entire lesson; perform labor actions efficiently: neatly (cleanly, beautifully), accurately, bring the work started to completion;
· use materials economically, rationally use tools, devices, time, effort;
· strictly follow the rules for safe work with tools and devices;
· constantly monitor the correctness of the task;
· Find errors and correct them if possible.
The manufacture of products must be built at various levels of difficulty: according to a sample, a drawing, a simple drawing. First, you need to teach how to perform tasks exactly according to a model or drawing - such tasks contribute to the development of voluntary attention, observation, and memory. Then it is recommended to encourage children to make changes in color, shape, size of parts, their number, as well as design. This increases independence of thinking and influences the development of imagination and creativity. At the same time, greater attention should be paid to the quality of the tasks: the accuracy of markings, accuracy during preparation and assembly, and the aesthetics of the design of the entire product.
Designing according to a thematic task contributes to the development of ideas and imagination. Conditional tasks are of great importance for design abilities and creativity - the child must independently find solutions to technical and artistic problems that meet a given condition, which affects the development of intelligence and ingenuity. By constructing according to plan, the child sets himself tasks and finds the right solutions. Such tasks provide an opportunity to develop design abilities, technical and artistic creativity.
So, the survey showed that primary school teachers do not fully understand the importance of aesthetic education in the process of vocational training. At the same time, the possibilities of aesthetic education in labor training lessons are very wide and versatile. This idea was reflected in the elementary school program we analyzed.
2.2 Directions for aesthetic education of younger schoolchildren in vocational training lessons
Theoretical analysis and empirical research made it possible to identify the following main directions of aesthetic education of junior schoolchildren in labor training lessons: 1) creation of favorable working conditions; 2) setting the goal of work; 3) choice of object of labor; 4) aesthetic analysis of objects. Let us consider the content of these areas of teacher activity.
Children spend a significant part of their time at school, and the conditions in which they study, in particular in labor lessons, have a serious impact on their development. Working conditions are inextricably linked with the organization of collective and individual work of children and always have a positive or negative impact on it. Children owe much of their success at work to properly organized working conditions. In addition, the work environment itself is a rich source of aesthetic influences on the child - an active educator.
In our schools there are no special workshops designed to conduct labor lessons in primary grades. This is partly due to the lack of premises, but the main reason is rooted in the undervaluation of the subject. There are schools where it is easy to allocate the necessary premises, but this prospect does not excite either the administrators or the teachers. And such rooms are certainly necessary. By equipping them well, it is possible to ensure that labor lessons are conducted at a high methodological level, and to create all the conditions for the successful implementation of aesthetic education for younger schoolchildren. With a correct understanding of the role of labor lessons in the development of children, many of our schools would have excellent classrooms for labor classes. So far they are a pleasant exception. In the absence of special workshops in most of our schools, the question arises: how to ensure aesthetic working conditions for students by conducting labor training lessons in regular classrooms?
The first and necessary condition is a spacious and bright classroom. Children work with pleasure in such a room. With good illumination of the workplace, the eyes become less tired, the activity of the children and their success at work significantly increases. To solve the lighting problem, it is not enough to install powerful lamps or have big windows. It is much more important to achieve uniformity and softness of lighting: harsh light is no less tiring and disturbing than weak light. The uniformity of illumination is well ensured by diffused light. Ordinary window curtains can help here. For example, pistachio-colored curtains. The dazzling rays of the sun fall on the desks. Children squint their eyes and have difficulty completing the task. The teacher suggests closing the curtains - the rays scatter, filling the room with soft light.
When caring for good lighting in classrooms, we must not forget about color. A lot of light in the room is added or stolen by the paints used to paint the walls and furniture. The most luminous color is white. The white surface reflects 80% of the light falling on it. But one can hardly have a positive attitude towards the passion for white. After all, each color, in addition to the fact that it enhances or weakens illumination, also has a certain, and also very strong and unequal effect on a person. Some colors act favorably, others unfavorably. Some are calming, others are exciting.
There are a large number of successful color combinations. Combinations of three colors (triads) are harmonious: red – blue – yellow, orange – blue – yellow-green, green – purple – yellow. Color shades that are similar in tone can also produce harmonious combinations: light yellow and orange, orange and red, red and purple. You can use combinations of derivatives of the same color, for example: dark blue with light blue, dark green with light green, etc. Pairs of complementary colors look good: various shades of yellow and blue, orange and blue, red and green.
All this cannot be ignored when painting classrooms. To provide a rational color scheme for a classroom means to provide one of the most important working conditions, one of the significant factors of aesthetic impact.
The aesthetics of the workplace, which presupposes the high quality of tools, equipment, materials and the culture of their maintenance and use, is the next aesthetic condition for the work of schoolchildren. Requirements that instruments must meet from the point of view of aesthetic education:
1. First of all, the instrument should give pleasure and awaken positive emotions with its appearance.
2. The tool should be convenient. With this quality, it has a positive aesthetic effect on children. If the tool is convenient, then the student works with pleasure, his work actions are precise, rhythmic, productive, he achieves success easily, without unnecessary stress. If the tool is inconvenient, the work brings disappointment to the student, dampens interest in the task, and does not give the desired result.
3. The quality of the equipment plays an equally important role (jars for glue and water, boxes for cutting paper, etc.). Equipment, like tools, should be beautiful and convenient. It doesn't have to be expensive for this to happen. Children can make some equipment themselves.
It’s not enough to provide yourself with tools, equipment, materials, you need to learn how to handle them culturally, that is, work so that your desk is in order, so that everything is at hand and nothing interferes with your work. Every primary school student should be convinced that a person who respects himself and his work should pay attention to the contents of the workplace, that the culture of the workplace makes work not only more enjoyable, but also more successful.
Properly organized working conditions not only have a direct aesthetic impact on primary schoolchildren, contribute to the achievement of high results by children in their studies, but also actively form the best work skills and habits that are so necessary for them in any field of activity - both in study and in work. .
The next direction is setting work goals. The purpose of labor is very multifaceted in its content: it includes educational, educational, subject, aesthetic, and social aspects. The educational and educational goals of labor are aimed at shaping the personality of children; substantive, aesthetic, social - associated with the object of labor, aimed at achieving high labor results.
As a rule, the work of younger schoolchildren is educational in nature. Therefore, the teacher must think through what new knowledge, abilities, skills, and qualities the children should acquire when performing their next work task. This determines the content of the educational and educational goals of labor. Sometimes teachers reveal them to students, sometimes they deliberately keep them to themselves. Which of them is doing the right thing and which is making a mistake can only be judged by taking into account the specific pedagogical situation in which the goal is set.
However, it can be argued that emphasizing educational and educational goals puts the child in the position of a student being educated, which impoverishes the content of child labor, especially its social orientation. On the contrary, conscious silence about educational and educational goals and emphasizing the substantive, aesthetic, social goals of work saturates the work of children with that useful game of “playing an adult worker,” which makes educational work optimal from the point of view of student development. That is why those teachers do the right thing who leave educational and educational goals to themselves, but by directing the activities of schoolchildren towards the successful achievement of subject, social and aesthetic goals, they solve educational and educational problems.
Labor lessons are mainly related to the manufacture of specific things. Attracting children's attention to the chosen object of labor, demonstrating the object with the intention of producing it is setting the objective goal of the work. When setting the objective goal of work, one cannot limit oneself to the name of the object of work, but should demonstrate a sample product that helps children specifically and accurately imagine the goal of their work.
The pedagogical task when setting an aesthetic goal is to create in schoolchildren an aesthetic attitude towards the object of labor and awaken (and if it arose at the time of preliminary observations, then strengthen) the desire to create a beautiful object. The disclosure of this goal should begin with the demonstration of a sample model.
As is known, aesthetic perception is concrete and sensual. In the sphere of beauty there are no and cannot be abstractions. What is inaccessible to sensory perception, what we cannot directly see or hear, remains beyond our aesthetic appreciation. That is why the demonstration of a sample model should not be neglected. It is designed to stimulate the feelings of schoolchildren caused by the contemplation of a beautiful object, skillfully crafted by man. When setting an aesthetic goal, it is sometimes useful to present children with bright prospects for evaluating the results of their work. Explaining to children why they need to make things beautiful is of considerable importance, for example:
To do beautifully means to surround yourself with beautiful things that bring joy and pleasure. No wonder they say: doing beautifully means living beautifully. To bring more joy to yourself and others - do things beautifully!
They say that man creates according to the laws of beauty. This means that whatever he does, he tries to do it beautifully. If you want to become a real person, strive to bring beauty into everything you do.
Even in the smallest task you can become a great artist if you approach it with love and creativity.
The best characteristic of a worker is an object made by his hands. Everything beautiful in a person, first of all, is revealed in work. Show me how you did it, and I’ll tell you who you are.
Remember, then you will learn to understand and appreciate the beauty of objects, then you will develop high taste in yourself when you create a truly beautiful object. After all, the taste in the best possible way develops through work, through the work of creating beautiful objects. Do it beautifully - you will develop taste!
Thus, setting the goal of work can and should be used as a factor of aesthetic influence on younger schoolchildren. A comprehensively disclosed goal appears visible and interesting to students. The nature of setting the goal of work leaves its mark on the nature of children’s work. The brighter and more exciting the goal, the more meaningful and effective the work of schoolchildren.
Aesthetic education in labor lessons is largely connected with the choice of object of labor. This is the first stage of preparing children to perform a work task, the first step of aesthetic influence on them. Of course, its effectiveness will depend on how pedagogically correct the teacher organizes it, how actively he attracts schoolchildren to participate in the selection of the object of labor, and what requirements he places on the product intended for production.
It is very important to actively include students themselves in choosing an object of work. This not only increases students’ interest in the things intended for production, but also becomes an act of children’s communication with the beauty of the objective world, awakening an aesthetic attitude towards reality and, in particular, towards the object intended for production.
Children’s participation in choosing an object of labor can be different: conversations about things that they want to do in class, collective analysis of students’ written answers to the question: “What would you like to do in labor lessons?”
It is not enough to involve schoolchildren in choosing an object of labor; it is necessary to help them select an object to perform that could serve as a source of aesthetic influence at all subsequent stages of the labor process, would stimulate activity and a desire to test their creative abilities, and cultivate taste.
Objects of labor contribute to the aesthetic education of younger schoolchildren during labor training lessons if they meet certain requirements.
Firstly, objects of child labor have various possibilities for aesthetic impact on students. Let's consider two groups of objects: objects that are different in purpose and complexity, but the same in craftsmanship, and objects that are identical in purpose and different in quality of execution.
Compare the model of a modern room with a set of furniture skillfully made from cardboard and paper of various types with a set of furniture with a garland of flags, also skillfully made in its own way. The first object of labor has great potential for aesthetic influence on schoolchildren, primarily because it is the result of more significant creative work. It actively contributes to the formation of a sense of form (as it involves the analysis and assessment of things of varying complexity, familiarity with their constructive solutions); develops a sense of color (comparison of the color of each detail and the ensemble as a whole, the connection between the painting of an object and its purpose); fosters a sense of proportion in color scheme and in ornamentation. A garland of flags also has an effect on children, but undoubtedly less so.
We observed how in the third grade, when making a box-cube, the teacher demonstrated an unsightly sample, hastily made from nondescript gray cardboard, with a very poorly processed surface, with kinks. The product did not arouse children’s interest in the upcoming work and did not awaken an aesthetic mood. An aesthetic mood is understood as an emotionally elevated state caused by the contemplation of a beautiful object or the successful activity of creating it. The students dutifully listened to the teacher’s instructions and duly began to complete the task.
In another class, during a lesson on making the same model, an attractive example was shown, neatly executed, complete with a variety of details. He made a strong impression on the schoolchildren, and they got down to business with enthusiasm. At all stages of the work, one could feel their ardent desire for aesthetic results of their work. Two subjects, identical in purpose, have different effects on schoolchildren: one generates indifference and undemandingness towards their work, the other interest and passion, fosters taste and desire for high final results of work.
Consequently, objects of labor have different possibilities of aesthetic impact on schoolchildren, depending on their appearance. But that's not all. These opportunities vary depending on the nature of the labor process that they involve.
In one of the classes, the teacher handed out a piece of paper and templates to the students and asked them to make a model of a rocket. The children traced the parts templates with a pencil, cut them out, and glued them together. The models are ready. No model analysis, no labor planning, no drawing analysis, no meaningful markings, no thoughtful material processing, no finishing. The teacher excluded from the labor process such links that could be effectively used from the point of view of aesthetic education.
This work was done completely differently in another class. The labor process here was not only richer in labor operations, but also meaningful, interesting, and creative. The children, under the guidance of the teacher, gave a detailed analysis of the product: they established what and how the model was made, gave it an assessment, i.e., they tried to determine whether they liked it and why. When planning, we not only determined the content and sequence of labor operations, but also established a connection between an appropriate sequence and high labor results. When analyzing the drawing and marking, the schoolchildren actively sought to comprehend and take the first steps in realizing the design and technological concept. In contrast to the previous class, they themselves provided the color scheme, painting the rockets with gouache and varnish, they themselves proposed and carried out the decorating stripes, etc.
Thus, when selecting products for production in labor training lessons, the teacher, first of all, must make a requirement for them: objects of labor must have significant potential for aesthetic influences on students.
Secondly, the technology of the product must correspond to the level of development of children, so that its production is not too easy or too difficult, so that the labor process does not represent either mindless play or fruitless martyrdom, so that it is both intense and at the same time fruitful and joyful. If the work task turns out to be too easy, it will not cause the necessary strain on the child’s intellectual and physical strength, and therefore will deprive him of the opportunity for effective development, the joy of creation, and creativity in the process of work. On the contrary, if it turns out to be too difficult, the student will lose faith in his own strength and in the success of the matter. This will extinguish his interest and creative mood, which is unacceptable in aesthetic education.
Thirdly, the objects of labor must be varied - this is the next requirement. Children of primary school age do not like to do “the same thing.” Only varied and meaningful crafts can excite and maintain interest in work. In classes where significant attention is paid to work, children, as a rule, are keenly interested in what they will do, greet a new product with enthusiasm and, conversely, passively and reluctantly get involved in work if they have to repeat a task once completed.
Fourthly, all products made in class should be used in practice - at school or at home. In the work of primary school teachers, there are cases when useless things are done during labor lessons. This is the result of one-sided attention to developing in students only some skills and abilities to perform certain operations.
Working for others, for society, actively contributes to the formation of an aesthetic attitude towards the social orientation of work, encourages the desire to benefit people through one’s work. On the contrary, working for oneself not only deprives work of a social orientation, but also cultivates selfish tendencies in the development of schoolchildren. Unfortunately, many teachers do not see or do not attach importance to this difference.
When implementing a system of aesthetic influences on younger schoolchildren in labor lessons, it is necessary to highlight in the labor process such a stage as the aesthetic analysis of a sample product, that is, considering it from the point of view of what is in it the subject of our aesthetic attitude.
The task of aesthetic analysis is to give a detailed aesthetic assessment of a product in verbal form. The significance of this stage is beyond doubt:
· the student learns to clearly express his aesthetic judgment about the subject; formulating his statement, he strives to deeply comprehend the features of the subject, the essence of his attitude towards it;
· systematically expressing his judgment, he actively exercises his aesthetic taste;
· By constantly comparing his assessment with the assessment of others, especially with the assessment of the teacher, the student enriches his ideas about the beauty of objects.
All this, ultimately, actively contributes to the formation of the desired aesthetic ideal in the student. In addition, the importance of aesthetic analysis of a sample product is undeniable in another sense, in terms of achieving high quality labor results: equipping children with a more accurate and meaningful idea of the beauty of the object of labor, it makes the goal of the work more tangible and accessible, it strengthens the desire for high the result of labor.
In aesthetic analysis, students should be drawn to those features of objects that make us consider them beautiful. What are these features? Those in which the creative abilities of the human creator are most clearly imprinted. “Beauty,” Gorky wrote in his time, “means such a combination various materials, as well as sounds, colors, words, which gives what is created, worked by a human master, a form that acts on the feeling and mind as a force that arouses in people surprise, pride and joy at their ability to create."
An aesthetic analysis of a subject can be successfully carried out if it is simple and accessible to younger students. Therefore, at the beginning of work, the teacher must draw the children’s attention to the beauty of form, material, and decoration, without delving into their components. Only later can we begin to gradually isolate them. When introducing children to certain terms, there is no need to require them to necessarily operate with them, but to ensure that schoolchildren, when aesthetically evaluating objects, do not lose sight of the phenomena designated by these terms.
Aesthetic analysis can be different from the point of view of the forms of participation of schoolchildren in it. The most effective method of educational aesthetic analysis should be considered trouble with children, based on the maximum activity of students. Conversations can be structured in different ways: either think through a series of leading questions and, receiving answers to them, lead children to a correct understanding of the beauty of the product, or ask schoolchildren one question: “What is the beauty of the product?” - and, by correcting, supplementing, and developing students’ thoughts, achieve the required depth of analysis of the subject.
Various forms of self-analysis deserve great attention. For example, when analyzing a model rocket, three students were tasked with analyzing the beauty of the model: one in terms of shape, another in terms of the quality of the material, and a third in terms of finishing. The children got acquainted with the model before the lesson and expressed their opinions during the lesson. The guys complemented the speakers. After the students' statements, the teacher briefly summarized what had been said.
Collective analysis, as a rule, reveals the beauty of an object in many ways, but sometimes it is difficult to determine how deeply each student sees the beauty of an object. For this purpose, it is useful to practice written self-analysis. They are most often performed outside of school hours. Each student had the opportunity to leisurely test their abilities for aesthetic analysis and express their judgments on paper. Getting acquainted with children's works, the teacher sees the depth of judgment of each student. Of course, the teacher must not only become familiar with the written analyses, but, based on them, continue to purposefully influence students.
Aesthetic analysis of a model has a definite place in labor lessons; it is quite accessible to younger students and pedagogically very effective. Thanks to the aesthetic analysis of the object of labor, children, firstly, begin to manufacture the next product with a vivid and detailed presentation of their task. This helps them not only outline ways to create a beautiful thing, but also make higher demands on themselves at all stages of creating the product. Secondly, by systematically delving into the beauty of lesson products, into the beauty of individual objects of the surrounding world, junior schoolchildren cultivate an interest in beauty, aesthetic tastes, they develop themselves aesthetically.
Thus, in order to achieve good results in the aesthetic education of younger schoolchildren, it is necessary to properly organize labor training lessons, taking into account the requirements for all the considered areas of the teacher’s activity.
2.3 Experience in developing and conducting lessons
In accordance with the requirements stated above, we developed and conducted labor training lessons in grades 1, 2, 3 and 4. This paragraph will present the experience of their organization. Lesson notes are given in Appendices 2, 3, 4, 5, respectively.
The topic of the lesson taught in the first grade is “Applique”. In this lesson, children made a composition from three-dimensional materials. Educational objectives lesson: continue the formation of knowledge and basic concepts on the topic “Application”. Educational objectives: to cultivate accuracy in working with materials, perseverance, and the ability to work in pairs. Developmental tasks: develop fine motor skills hands, imagination and imagination of children.
During the introductory conversation, the children themselves reported what they did in the last lesson. Next came a repetition of the material covered. Students quickly remembered 3 ways to prepare leaves for use. From this we can conclude: the children were very interested in the topic and learned the material from the previous lesson well.
It was unusual to check the children's readiness for the lesson. The students were given riddles, which aroused great interest. And the answers are those items that should be on children’s desks.
This lesson is interesting because it used special exercises for the development of artistic imagination, proposed in the work of I. M. Shadrina, from the “Imagine and See” series. These exercises are aimed at “liberating” the imagination and eliminating emotional barriers. Children were asked to imagine and describe:
· What color is laughter?
· What color is the acute pain?
· What color is kindness?
These questions were unusual for children. But after the teacher answered the first question, they began to give answers more boldly. The students were enthusiastic about their work. Most chose the theme "Zoo". The composition included various animals and birds, some of them the result of children’s imagination.
Since the children are in first grade, working in pairs was very important. The students found it difficult to decide together which composition to perform.
It was difficult to select compositions for the exhibition. All works were worthy of universal approval. Only a small part received a rating of 4 because their work was sloppy. Most of the works turned out beautiful and varied. Exercises to develop imagination were of great importance.
The topic of the lesson taught in the second grade was “Repairing clothes, sewing on buttons.” In this lesson the children made a teapot stand. Educational task: teach the rules of sewing on buttons. Educational task: to continue developing the skills of working safely with a needle and thread. Developmental tasks: develop fine motor skills of the fingers, coordination of movements.
During the introductory conversation, attention was drawn to how untidy and sloppy clothes look when a button is torn off.
The steps of sewing on a button were presented in the form of colorful illustrations, which attracted the children's attention. When showing and explaining the following were used: a large button, a needle, a thick thread, fabric. The button, thread and fabric differed in color. All requirements for the object of labor were also taken into account. An aesthetically designed stand was presented, which sparked students' interest in making the product.
Since the stand is decorative, students were asked to use threads and buttons of different colors. To do this, students exchanged threads among themselves.
Next, the children learned to choose the correct length of thread. An example of the saying was given: “A long thread makes a lazy seamstress.” The children expressed their opinions in their understanding of this saying. The students understood that if they choose a long thread, it will get tangled and the product will look ugly. The result was good work. Many people had to resew a button. The children saw their mistakes.
The works turned out to be bright, since the color of the product parts did not match. The children were pleased to realize that they could sew on a button on their own.
The topic of the labor training lesson in the third grade is “Artistic modeling by bending.” In this lesson, children had to make a flower using origami techniques. Educational objectives: introduce the art of origami; teach how to make a flower by folding paper. Educational tasks: to cultivate accuracy, patience, perseverance. Developmental tasks: develop the eye, fine motor skills of the fingers.
At the beginning of the lesson, we managed to interest the children with the help of the teacher’s story about the history of origami. The students were captivated by the story. Then, using the textbook, the students and the teacher explained the symbols that are used when reading origami diagrams.
The samples presented to the children met all the requirements. They were made with high quality, with a good color scheme. When examining a sample of the product, students independently identified the parts that make up the flower.
Attention was paid to the fact that the product will look more beautiful if the markings are done correctly, the paper is handled carefully, and folded correctly and evenly. The children tried to complete the work in accordance with the requirements, but not all of them were successful in working with paper. Students were asked to choose the color of the paper themselves. The children used a combination of different colors.
The children were enthusiastic about their work. They patiently folded the paper and connected the elements. Some students, having completed the product, managed to make other figures on their own during the lesson (they were previously familiar with the art of origami). And with the help of the same elements they made a star, a man and a swan.
Working with paper using the origami technique promotes the development of fine motor skills of the fingers and logical thinking. During this lesson, all assigned tasks were completed.
"Salt Dough Modeling" is the theme of the fourth grade lesson. During this lesson the children made a matryoshka doll. Educational objectives: to develop skills in modeling salt dough. Educational objectives: to cultivate neatness. Developmental tasks: develop fine motor skills of fingers, logical thinking. The topic is studied over two lessons.
First of all, attention was paid to the order on the students’ desks: “Put everything so that it does not disturb you.” Next, the children independently determined the material from which the product was made. This was followed by a detailed explanation of the steps involved in making a salt dough product. Students actively helped in constructing the sequence of stages. This suggests that they approached their work consciously. The children, without the help of a teacher, were able to determine which details were basic and which were additional.
A lot of theoretical material was presented, but it corresponded to the fourth grade level. An additional task was given, which the children completed with enthusiasm. The figures were complemented with various beautiful elements. Then the students began making matryoshka dolls again. They were given freedom to choose the color of the paint.
The end result was beautiful products. The children contributed something of their own, additional details. The students were pleased with the work they completed, although the production of the product took considerable time. The labor process was full of labor operations, and was also meaningful, interesting and creative.
As mentioned earlier, in the first grade lesson we used special exercises from the system of training exercises for the development of imagination by I.M. Shadrina. According to the author, labor training lessons serve as a unique basis for the formation of artistic and figurative ideas in schoolchildren and their subsequent embodiment into a real object.
The system of artistic and figurative representations is based on mental processes, such as: imagination, memory, child perception environment and emotions experienced in the process of creating an image. In the methodology for the formation of artistic and figurative representations, the processes of perception and visual memory are more developed, i.e. the ability to select and reproduce “in the mind” known images, as well as creative imagination – the ability to transform visual representations, productively combine known images and create new ones. These are very important stages of the creative process.
To develop imagination, you can use a specially developed system of preliminary training exercises for developing imagination. The purpose of these exercises is to create the ground for subsequent free creative combinations, remove emotional barriers, and “liberate” the imagination. Moreover, each lesson begins with the organization of a perception setting. Children are invited to listen to quiet music, turn on dim lights and ask them to imagine that they are in a place where they are most pleasant and calm to be.
The first series “Imagine and Hear” includes the following tasks:
You already know that a cow moos, a dog barks, a door slams, thunder rumbles, a bell rings, a whistle blows, etc. You have heard all these sounds more than once, but try, using your auditory imagination, to imagine:
·What a soft fluffy cloud sounds like when you touch it.
·Imagine and draw the sound that a pickled cucumber makes.
·Come up with your own sound, describe it.
Many students will not immediately complete this series, and this is natural, since an underdeveloped imagination is supplanted by previously received information and ideas about the sounds available in the space closely surrounding the child. This exercise is allotted 5-10 minutes in class, then students turn to the main task.
The second episode is called “Imagine and You Will See”; the tasks in it are as follows:
You already know that the grass is green, the sky is blue, the stop sign is red, cows are not purple, but the moon is often silvery white. All these and many other colors are familiar to you. What color is kindness? Using your visual imagination, imagine, describe or draw:
· What color is laughter?
· What color is the acute pain?
· Imagine your own color, for example, what color is the sunset on an alien planet? .
Working time is 5-7 minutes. This characterizes the presence of a large amount of visual memory in children.
The next "Imagine and Try" series includes the following tasks:
· What does sunlight taste like? Try to describe it.
· What does a question mark taste like?
· On an alien ship you are treated to dinner, what does the food that is completely unfamiliar to you taste like?
· Come up with your own taste.
A series of tasks “Imagine and smell.” The tasks are as follows:
You know the subtle aroma of flowers, the smell of chocolate cake or the smell of pepper that makes you want to sneeze. The properties of many substances are familiar to you thanks to your sense of smell. Using your imaginary sense of smell, you can imagine the smells of objects or phenomena that seem to have no smell. Imagine and feel this smell:
· What does moonlight smell like? Try to describe this smell.
· What does your favorite TV show smell like?
· Imagine your favorite scents in bottles different sizes, shapes and colors on a magic shelf in your room. Now imagine opening the bottles and taking a deep breath... Describe your favorite smells.
The lesson in the “Imagine and Touch” series is accompanied by the display of transparencies, making the children forget about their place of stay in this moment, since the tasks require a lot of imagination.
You know that kittens are fluffy, syrup is sticky, ice is slippery, sandpaper is rough. These and other sensations arise from touch or, in other words, from your sense of touch. Using your imaginary sense of touch, you can remember sensations that you once had or invent completely new ones.
It is unlikely that you will touch a rainbow with your hand, but in your imagination you can do it. Imagine and you will touch a rainbow:
· How do you feel when you touch a rainbow? Describe your feelings.
· How do you feel when you touch happiness?
· Imagine that you are in a museum, where instead of a sign saying “Do not touch with your hands” there is a sign saying “Touch and feel”. There are a lot of things in this museum that you really like. Imagine closing your eyes and touching them one by one. Describe your feelings.
A series of tasks "Imagine and feel." The tasks that the students completed were as follows:
· Imagine that each of you is one big foot, you have no arms, legs, or head. Funny, is not it? But think about it and imagine. Are you walking barefoot or are you wearing something? Is the sand dry or wet? Are you pleased or not? Describe what it means to be a foot.
· Imagine that you are your hand and petting a furry animal, tickling its tummy, scratching its back. Is your pet soft or a little prickly? Describe your feelings about what it means to be a hand.
· Imagine that you are a tongue and licking an ice cream on a stick. Tasty? Is the ice cream hard or has it already started to melt? Is there much left or is the stick already visible? Describe how you feel when you become a tongue.
5 minutes of class time are allotted for this exercise. In order to record the ideas that the children received while completing the task, you can invite them to write a short essay on the topic “The Journey of the Ladybug.”
If you introduce such activities in all labor lessons, you can achieve great, productive results in the development creative thinking younger schoolchildren. The most productive type of development of creative thinking and aesthetic development a child in general is free creativity or creativity according to one’s own design. The child must create an idea for the future product, which requires a very complex transformative activity of children's thinking and imagination, which is creative in nature.
For the most successful aesthetic education of children, the development of a creative vision in them, it is necessary to constantly influence the feelings of schoolchildren with emotional stimuli, to take care that labor training lessons fill the souls of children with the joy of learning new things, and amazement at their creative abilities. The work of children in such lessons will always be creative in nature and will constantly bring joy and aesthetic pleasure.
Thus, in the second chapter of the work, the main directions of aesthetic education in labor training lessons in primary school were identified and described: the creation of favorable working conditions; setting work goals; choice of object of labor; aesthetic analysis of objects. This chapter also presents the experience of developing and conducting labor training lessons in elementary school, which implement the content of these areas of the teacher’s activity.
Conclusion
This work is devoted to studying the possibilities of labor training lessons in the aesthetic education of primary schoolchildren.
The study showed that the essence of aesthetic education consists in organizing a variety of artistic and aesthetic activities of students, aimed at developing their abilities to fully perceive and correctly understand the beauty in art and life, at developing aesthetic concepts, tastes and ideals, and developing the creative inclinations of children.
Aesthetic education can be carried out through involvement in artistic and creative activities in institutions of general and additional education, culture, etc., as well as in educational activities and in various forms and types of extracurricular educational work. Basically, the tasks of aesthetic education in the educational process of primary school are solved through disciplines such as music, fine arts, literary reading, the environment and labor training. When carrying out aesthetic education, the teacher must take into account the age-related characteristics of the development of children’s thinking, perception, memory, and imagination and build the educational process in accordance with these characteristics.
At the stage of empirical research, a survey was conducted, which showed that primary school teachers do not fully understand the importance of aesthetic education in the process of labor education. They were complicated by the question of the teacher’s working methods and the question of the labor process that contributes to aesthetic education. When choosing an object of labor, many teachers do not take into account factors such as the interest of children and the appearance of the object of labor. Respondents understand that the school’s implementation of aesthetic education tasks is currently ineffective. However, the level of work of the school as a whole is determined by the quality of work of each teacher.
At the same time, the possibilities of aesthetic education in labor training lessons are very wide and versatile. In labor classes, it is necessary to develop labor skills and an aesthetic attitude towards work. Children should be given ample opportunity to create - to make products that require understanding of the drawing and correct marking of the material, high-quality processing, thoughtful installation, and a certain taste in the selection of finishing materials.
It was revealed that the aesthetic education of younger schoolchildren in labor training lessons is carried out in the following main areas: creating favorable working conditions; setting work goals; choice of object of labor; aesthetic analysis of objects. Favorable conditions primarily include: hygienic conditions - a spacious, bright classroom, color scheme; aesthetics of the workplace - high quality tools, equipment, materials. Setting the goal of work should be used as a factor of aesthetic influence on younger schoolchildren. The brighter and more exciting the goal, the more effective the students’ work. Objects of labor must meet a number of requirements: attractive appearance, saturation of the labor process with labor operations, compliance with the level of development of children, variety of objects of labor and further use of products. All students should be included in the process of aesthetic analysis of a subject.
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Annex 1
Questionnaire for primary school teachers
Dear colleague!
We are studying the features of the work of primary school teachers in nurturing the aesthetic feelings of schoolchildren during labor training lessons. Your answers to the survey questions will have great help in improving the organization of the educational process in primary school. We ask you to answer all questions. For questions containing answer options, circle the number of the option that corresponds to your opinion. If the proposed options do not suit you, then indicate your option. In questions 4, 5, 6, 7, multiple answer options are possible. You don't have to indicate your last name.
Thanks in advance for your help!
1. Do you think that the tasks of aesthetic education should be solved during the teaching process in primary school?
c) I find it difficult to answer.
2. What school subjects, in your opinion, have aesthetic potential?_________________________________________________________
3. The relationship with what disciplines contributes to the implementation of aesthetic education in labor training lessons?_________________
4. In your opinion, the aesthetics of labor presupposes:
a) the creative process, the beauty of actions;
b) beautiful, high-quality products as a result of labor;
c) proper organization of working conditions for students;
5. In your opinion, the labor process that contributes to aesthetic education includes:
a) clarity, correctness of actions;
b) children's creativity;
6. What is the aesthetics of a student’s workplace?
a) beautiful design;
b) order, convenience, correct arrangement of equipment;
c) other (specify)__________________________________________________________
7. What should be taken into account when choosing an object of labor?
a) children’s interest in making the product;
b) the appearance of the object of labor;
c) age characteristics of children;
d) other (specify)_____________________________________________
8. What methods of work of a teacher are more conducive to aesthetic education in labor training lessons?____________
Please tell us about yourself:
school________________________________________________________
teaching experience___________________________________________
education:
a) secondary specialized;
b) higher.
Appendix 2
Summary of a labor training lesson in 1st grade on the topic "Application" (1 hour)
Product: Volumetric composition.
Lesson objectives:
1. Educational: continue the formation of knowledge and basic concepts in the topic “Application”;
2. Educational: to cultivate accuracy in working with materials, perseverance, and the ability to work in pairs;
3. Developmental: develop fine motor skills and imagination of children.
Equipment: natural material, plasticine, card with the word "composition".
Lesson plan:
1. Introductory conversation.
2. Introduction to the concept of “composition”.
3. Composition.
4. Summing up.
During the classes
| tapas | Content |
I. Organizational part. 2) checking readiness for the lesson. II.Theoretical material III. Practical part. 1) independent work. IV. Final part. 1) lesson summary. 2) exhibition of works. 3) cleaning the workplace. |
Hello guys. Let's smile at each other, and I'll smile at you. I wish you only good luck for the lesson, so that everything works out for you. Sit down quietly. Tell me, please, what did you do in your last labor education lesson? An applique was made from leaves. You have learned 3 ways to prepare leaves for work. Let's remember them together. 1) Iron the leaves; 2) Soak for 5 days in an old magazine, lined with napkins; 3) Cover the leaves with layers of dry sand in a box or box. Which method do you think is the most convenient? Which method is the fastest? First and second. Today we will continue working with natural materials. In the last lesson, you made appliqué from flat natural materials, so it turned out flat. Look at the desks, you now have voluminous natural materials. I will tell you riddles, and the answers are on your desks. They grow in summer They fall in the autumn. Into a golden ball The oak tree hid. Who gets dressed up once a year? Right. You have a spruce branch and fir cones. Stands in the forest It creaks in the wind. Right. On your desks you have a pine branch and pine cones. You already know that the grass is green, the sky is blue, cows are not purple, but the moon is often silvery white. All these and many other colors are familiar to you. Use your imagination to imagine, tell, or draw. What color is kindness? What color is the sharp pain? What color is laughter? Well done boys. Let's return to our application. In order for the applique to turn out beautiful, it is necessary that the objects have the correct ratio in relation to each other. For example, a person cannot be at home anymore. So we will make up composition . Composition is the combination of individual parts into an expressive picture. Let's read the word composition together. Composition. You can come up with different compositions. I offer you 2 themes: "Forest" and "Zoo". You can make trees, bushes, various animals, birds. You will work in pairs. What material do you think we will use to connect the parts? Using plasticine. You can use colored paper, colored cardboard. This will give your compositions even more brightness and color. Look at the illustrations and the composition that I did. You can take something from here, but it's better if you come up with something of your own. So, everyone is ready to complete the task. Since you have to work in pairs, first discuss and decide what you will do. Guys, you did a very good job today. I saw that everyone tried, so you came up with very good, varied compositions. Check out the appliqué exhibition. This concludes the lesson. Clean up your desks and you can be free. |
Appendix 3
Summary of a labor training lesson in grade 2 on the topic “Clothes repair, sewing on buttons” (1 hour)
Product: Kettle stand.
Lesson objectives:
1. Educational: teach the rules of sewing on buttons;
2. Educational: continue to develop the skills of safe work with a needle and thread;
3. Developmental: develop fine motor skills of the fingers, coordination of movements.
Equipment: illustrations with rules for sewing buttons; hoop, fabric, button, thread for display; templates, scissors, drape, threads, needles, buttons, chalk.
Lesson plan:
1. Introductory conversation.
2. Introduction to the rules for sewing on a button.
3. Making a stand.
4. Summing up.
During the classes
| Lesson steps | Lesson content |
I. Organizational part. 1) greeting, organization of attention 2) monitoring readiness for the lesson II.Theoretical part. 1) introductory conversation. 2) explanation based on illustration. 3) explanation and demonstration. III. Practical part. IV.Final part. 1) summing up. 2) exhibition of works and evaluation. 3) cleaning workplaces. |
Hello guys. Sit down quietly. Today we will learn how to sew buttons. We will also make a stand for the teapot. On your desks there should be threads, needles in pincushions, scissors, draperies, buttons, chalk or pieces of soap. Let's remember the rules for working with scissors. Pass closed and rings first. Close after work. Use only for its intended purpose. We use the needle carefully. If you are not using it, it should be in the needle bed. Tell me, who sews on your buttons? Today you will learn how to sew on buttons yourself. When a button is torn off, the clothes look untidy and sloppy. Mom will be very happy when she sees that you sewed on the button yourself. Look carefully at the board. Using illustrations, I depicted the stages of sewing on a button. Let's look at them: 1. When sewing on a button, we pierce the fabric with a needle from the front side so that the knot “hides” under the button. 2. Do not tighten the thread too tightly so that the button seems to swing on a “leg” of thread. 3. We make all the following punctures in the places of the first two, so that everything looks neat from the inside. 4. When finishing sewing on the button, wrap the “leg” several times and secure the thread. You will get a column that helps to fasten the button. Let's repeat the steps of sewing on a button, and I will show you at the same time. Now we will make a stand for the teapot. (I give out templates) We cut out the stand. Unfold the drape. Attach a template. Trace around the edge of the template with chalk (or a bar of soap). Cut it out. We will sew a button into the middle of the potholder. Then we will sew on a few more buttons. You can get a stand like this (I show you). Let's find the middle. To do this, fold the stand piece in half, then in half again. The sharp peak is the middle. Let's mark with chalk. Here we will sew the first button. Since our product is decorative, the color of the buttons and the color of the thread may not match. Use threads of different colors. You can exchange threads and buttons with your classmates. Let's insert the thread into the needle, but first you need to choose the length of the thread. What do you think the proverb means: “A long thread makes a lazy seamstress”? Let's choose the length of the thread. We bend our arm at the elbow. Hold one end of the thread between your thumb and index finger. We wrap the thread around the elbow and grab it with the same fingers. This is the length of our thread. We insert the thread into the needle. Let's make a knot. You need to fasten both ends of the thread at the same time. Let's sew on the first button. Hint on the board. Choose the places where you will sew the remaining buttons yourself and mark them with chalk. Sew on the remaining buttons. Let's repeat in what order and how we sew the button. Those whom I told, come out and show your work to the guys. (Assessing) Everyone turned out to have beautiful, bright coasters. No two stands are alike. You tried and got a good result. You can give them to your mothers. Well done, you learned how to sew on a button. Clean up your workspaces and remove trash. The lesson is over. |
Appendix 4
Summary of a labor training lesson in grade 3 on the topic “Art modeling from paper by bending” (1 hour)
Product: Flower.
Pedagogical tasks:
1. Educational: introduce the origami technique; teach how to make a flower by folding paper.
2. Educational: cultivate accuracy, perseverance, patience.
3. Developmental: develop the eye, fine motor skills of the fingers.
Equipment: textbook "Lessons of Mastery", colored paper, scissors.
Lesson plan:
1. Introductory conversation.
2. Introduction to the art of origami.
3. Making a flower.
4. Summing up.
During the classes
| Lesson steps | Lesson content |
I. Organizational part. 1) greeting, organization of attention. II. Theoretical part. 1) introductory conversation. 2) familiarity with conventional signs. 3) explanation. 4) explanation and demonstration. III. Practical part. 1) independent work of students. IV. Final part. 1) summing up. 2) exhibition of works, evaluation. 3) cleaning the workplace. |
Hello guys. Get ready for the lesson. Get even. Sit down quietly. Today in class you will learn something interesting. Let's check your readiness for the lesson. On your desks you should have: colored paper, scissors, a pencil, a ruler. Remember the rules for working with scissors. Listen carefully to the parable. Once upon a time, a very, very long time ago, there lived a piece of paper. There were no special machines yet, and it was made by hand by Chinese craftsmen. The leaf was terribly expensive and very beautiful. Then he had many brothers and sisters. They began to write on paper, and made money from it. The craftsmen did not tell anyone how paper was made. A lot of time passed, and one of the masters finally revealed the secret. This is how paper moved from China to Japan. And Japanese masters began to make it even better, larger and more beautiful than the Chinese. And finally, from small square pieces of paper they began to fold a variety of figures: butterflies, cranes, flowers, boxes and much, much more. People competed with each other and came up with new figures. This is how paper folding turned into an art and began to be called the Japanese word origami. The figurines were brought to other countries, their inhabitants also happily repeated the already known ones and made more and more new toys. It was difficult to remember the folding order of many toys, so we tried to write it down. But people different countries They don't speak the same language, so the notes couldn't be read by everyone. Thus a new language appeared - the language of signs. It was invented by a Japanese man named Akira Yoshizawa. With the help of these icons, understandable to everyone, it was possible to simple drawings and diagrams write down the entire path of the piece of paper from the square to the figure. Guys, let's read together what the art of paper folding is called. Open your textbook to page 9. Let's look at symbols. The dotted line means fold with a “valley”, i.e. this line should be inside. A dotted line with a dot means fold it into a mountain, i.e. this line should be inside. A dotted line with an arrow pointing in both directions - bend, i.e. bend and unbend. The arrow is twisted - turn it over to the other side. A curved arrow with a dotted line - bend inward. The next arrow means insert one into the other. The arrow, curved in a spiral, indicates that the paper needs to be wrapped. These are the main notations that we will encounter in further work. Today we will make a flower. Look at the flower that I made (showing). What parts does it consist of? From triangles that are connected to each other. This means that first we will make triangles, and then we will connect them and get a flower. Page 11 shows the shapes that can be obtained by connecting triangles in different ways. Here we see our flower. Look at page 10. This shows how this triangle is folded. Now I will show you how to fold a triangle. To make a flower you will need 6 squares with a side of 10 cm. 3 squares of green paper are the stem and leaves, 3 squares of some other colored paper. You can choose the color yourself. Get to work, measure out the squares, and, using the diagram on page 10, fold the triangles. Then connect them. Measure the squares correctly and accurately, cut out carefully. Otherwise, you may end up with an uneven triangle and an unattractive flower. Fold carefully, do not tear the paper. Start working. You got wonderful, colorful, varied flowers, because everyone chose the color of the paper themselves. Guys, to whom I told, go to the board and show your flowers. (Assessing) You can make various shapes yourself at home. This concludes our lesson. Clean up your desks and you can be free. |
Appendix 5
Summary of a labor training lesson in 4th grade on the topic “Modeling from salt dough” (2 hours)
Product: Matryoshka.
Pedagogical tasks:
1. Educational objectives: to develop skills in modeling salt dough.
2. Educational tasks: to cultivate accuracy in the process of modeling salt dough.
3. Developmental tasks: develop fine motor skills of fingers, logical thinking.
Equipment: templates for an apron and scarf, visualization of the product, souvenirs, cards with the stages of modeling salt dough, step-by-step drawings for making a nesting doll, cards with a recipe for salt dough.
Lesson plan:
1. Acquaintance with new material.
2. Introduction to the stages of modeling.
3. Making a souvenir.
4. Summing up.
During the classes
| Lesson steps | Lesson content |
I. Organizational part. 1) greeting, organization of attention. 2) control of readiness for the lesson. II. Theoretical part. 1) introductory conversation. 2) setting work and educational tasks. 3) analysis of design features. 4) explanation of the manufacturing technology of the product. 5) specification of the labor task. III. Explanation. IV. Practical part. 1) independent work of students. 2) completing an additional task. 3) coloring the matryoshka doll. V. Final part. 1) lesson summary. 2) cleaning the workplace. |
Hello guys. Tune in to the lesson, smile at each other. Straighten up and sit down quietly. Let's check if you have everything on your desks. You must have salty dough, templates, stacks, water, pencils, rods. Place it all so that nothing interferes with you. Remember that your desks were always in order. Today in class we will make souvenirs. A souvenir is a keepsake. This word came to us from France. Look at the souvenirs. Tell me, what materials are they made from? Name the common material used to make all these souvenirs. Salty dough. That's right, now pay attention to our product, this is a matryoshka doll. We will do it in stages. Today you will get acquainted with the sequence of making souvenirs from salt dough. What do you think should be done first? First you need to knead the dough. In order to knead the dough you need to take 1 cup of fine salt, 2 cups of flour, 1.5 cups of water. Salt needs to be mixed with flour and water added. Knead the stiff dough as for dumplings. It should be thick, dense, but flexible, and should not crumble. So first you need knead the dough . What do you think should be done next? We need to sculpt. That's right, the second stage is modeling. This includes techniques such as rolling out dough, shaping - giving different shapes to the parts that we need, etc. These techniques are used for modeling from dough and plasticine. We will sculpt on cardboard. Tell me, what is the difference between plasticine and dough? The plasticine does not need to be dried, but the dough does. Plasticine gets your hands dirty. Paint does not stick to plasticine. That's why we use salt dough for modeling. Thus, after kneading the dough, we must sculpt. What do you think we will do after sculpting? Right. Next stage - drying. To dry, you will place your product on the windowsill. After drying you should primer. Primer - coating the product with PVA glue diluted with water: for 1 teaspoon of PVA 2 teaspoons of water. We need a primer so that the paint adheres better to the product, because... PVA glue makes the surface compacted. After priming you need dry product. So, the first stage was kneading the dough, the second was modeling, the third was drying, and the fourth was priming. Guys, what do you think the next stage will be? Coloring. Right. Fifth stage – coloring. What colors can you use to paint? What should you do after coloring? After painting, the product must be dried. The drying process is very long. If we paint a raw product, it will get wet. During drying, moisture comes out; if we cover it with gouache, the inside will be damp, and the outer layer will crack. Today in class we will sculpt a matryoshka doll. Look carefully at the plan, what points of the plan do you not understand? What parts do you think should be sculpted first? Basic. List the main details. Head, sundress, scarf, apron. Then we sculpt additional details. List them. Nose, sleeves, hands, hair. Now listen to how to do the matryoshka doll. First sculpt the head and then make the hair into sausage shapes and connect them using water. Then use a rod to make eyes and a mouth, and make a nose from a ball. Now make a sundress out of the flatbread using a template. Make an apron and connect it to the sundress using water. Decorate it with a design. Fashion and attach the sleeves. Cut out a scarf from a thin cake and “put it on” the head, that is, place your head on the scarf and wrap it around it. Then add the ends of the scarf and the knot. Connect all parts of the figure. Complete the nesting doll with small details: make handles and add your own details. What are the salt dough parts used to glue? With the help of water. Get to work. While our nesting dolls are drying, we will make several small figures from the remaining dough. I am giving you the forms of these figures. You roll out the dough to medium thickness, apply the shapes, and, as it were, cut the dough with these shapes. What shapes did I give you? You can exchange forms with each other. Once you've made the figures, add your own details to them using a dowel and dough. We do all the work on cardboard. You can start working. You made some great figures. Each of you added some of your own elements to them. Our nesting dolls have dried and we can start coloring them. You choose the colors yourself. Do not use too much water on the brush. Well done boys. Everyone turned out beautiful, elegant, bright nesting dolls. They will decorate any corner in your home. And now the nesting dolls need to be dried on the windowsill again. Clean up your work areas, take away the water, wash your brushes, wash your hands well, wipe down your desks. |
Introduction
The relevance of research. The problem of forming aesthetic education of students is especially relevant today. This is due to the fact that in modern Russian society the functioning of educational institutions, the media, youth public associations, as well as the sociocultural life of young people in general has changed significantly.
Aesthetic education in technology lessons, the task facing a modern educational school is the education of a harmoniously developed personality. Aesthetic education plays a significant role in the formation of a harmoniously developed personality. Currently, the most important task, as indicated in the Main Directions of the Reforms of secondary and vocational schools, is to significantly improve art education and aesthetic education of students. It is necessary to develop a sense of beauty, to form high aesthetic tastes, the ability to understand and appreciate works of art, historical and architectural monuments, the beauty and richness of our native nature. It is better to use for these purposes the capabilities of each educational subject, especially literature, music, fine arts, labor training, aesthetics, which have great cognitive and educational power.”
Research topic: “Aesthetic education of students in technology lessons”
Purpose of the study: To determine the importance of implementing educational tasks in aesthetic education in technology lessons.
Research objectives: 1) Analyze the psychological, pedagogical and methodological literature on the research problem.
) Summarize practical experience in aesthetic education of students in technology lessons.
Research base: Municipal educational institution "Slonovskaya secondary school", Sharlyk district, Orenburg region.
Research methods: Analysis of theoretical and methodological literature, summarizing, studying and summarizing teaching experience, observation, conversation.
Chapter I. Theoretical aspects of the formation of aesthetic culture
1 Development of aesthetic education in Russia
Aesthetic education is a purposeful process of forming a creative personality capable of perceiving, feeling, appreciating beauty and creating artistic values (B. T. Likhachev)
Aesthetic education, its problems and individual elements reflected in the works of many outstanding Russian teachers, including N.A. Bobrovnikov, N.F. Bunakov, V.P. Vakhterov, V.I. Vodovozov, L.N. Tolstoy, K.D. Ushinsky.
The Russian system of aesthetic education first declared itself at the official level in 1899, when the Minister of Public Education N.P. Bogolepov recognized the need for school reform and took part in the development of its main provisions. In the section “aesthetic education” it was noted that the curriculum of secondary schools of the Ministry of Public Education has changed significantly. The scope of aesthetic education has expanded.
Much attention was paid to aestheticizing the environment. It was recommended to pay attention to interdisciplinary connections. In order to turn nature into an “aesthetic element of education,” it was proposed that each school should have a private plot, a garden, and decorate classrooms with indoor flowers.
The result of proper aesthetic education in this document was called “the development of creative imagination, thanks to which a person, through the perception of artistic images... gains the ability to be transferred to the realm of illusions.”
From the position of the teacher, methodologist and writer of the late 19th century V.P. Ostrogorsky, aesthetic education is “the education of imagination and feelings in connection with the development of the mind in order to cultivate in a person a special permanent mood - interest and taste for life, the ability to find pleasure in it in the contemplation of the graceful in art and in people, the desire for self-improvement through noble deeds.” Aesthetic education for V.P. Ostrogorsky is the cultivation of a person in the love of beauty, in a continuous active striving for it and, moreover, for a moral ideal.
The goal of aesthetic education is “to make a person as happy as possible, and at the same time not only... useful, but also pleasant for others, lively and social.”
The problems of aesthetic education in Soviet times were actively developed in theory and practice by such teachers as V.S. Bibler, L.S. Vygotsky, I.P. Ivanov, A.S. Makarenko, V.A. Sukhomlinsky.
From 1918 to the mid-1960s. aesthetics at school rejected cultural principles. Concepts such as “cultural era” and “artistic style” were not included in the sphere of aesthetic education: the first was endowed with a socio-political meaning and, under the guise of a formation, was studied in history lessons, the second, at best, was briefly touched upon by language arts teachers. Aesthetic education, distant from theory and culture, was oriented toward practical interests. Issues of ethics and labor discipline, aesthetics of behavior, which includes manners, appearance, activities, communication, and human actions, culture of life and persistent ideology were summed up in the phrase “aesthetic education,” and the appeal to everyday life prevailed over the appeal to art itself. Attempts to systematize this diverse focus consisted of considering general provisions aesthetics and in the simplest analysis of individual works of painting and music.
Second half of the 1980s. - a period when the boundaries that in theory and practice separated art education from aesthetic education were completely erased for most teachers. The ideas of humanization and humanization of education, an integrated approach based on the interaction of various types of art contributed to the formation of aesthetic education as part of any (ideological, mental, moral, labor, physical) education. Teachers began to more actively stimulate the creative activity of children; theorists recognized the development of imaginative thinking, different from conceptual thinking, as the most important function of aesthetic education.
We believe that in pedagogical works at the turn of the XX-XXI centuries. The most promising trends have become the bringing together of the rational and emotional principles, the intensification of the mental activity of students, and encouraging them to be creative with the aim of diversified personal development.
Educational readiness, according to scientists, arises as a result of upbringing, training, and is lost from detrimentation, and therefore “increasing neuropsychic connections can be achieved by pedagogical methods, through exercises (training); their gradual complication; diversity of content - reflection in them of an objective and subjective picture (image) of the world; their chaotic and systematic presentation; expansion and deepening of the basis - basic knowledge." At the same time, assimilation is facilitated if learning is carried out from the perspective of development and the active inclusion of the sensory sphere and emotional intelligence.
Today, the tendency of research to purposefully merge the rational and sensory-emotional principles in the process of life is so strong that the concept of emotional intelligence comes to the fore. The all-encompassing effect of aesthetics, its enormous radius, gives rise to the need to consider a new concept - aesthetic space.
In our understanding, aesthetic space is the extent of aesthetic interactions that appear to the child every day in a variety of material and spiritual forms, Fig. 1
Figure 1. Model of aesthetic space
Legend: 1- personal aesthetic space, 2- activity aesthetic space, 3- social aesthetic space, 4- territorial aesthetic space, 5- chronological aesthetic space.
Personal aesthetic space includes the aesthetic features of a specific individual. This sphere of aesthetic space is closely related to the child’s self-concept.
The activity-based aesthetic space represents the practical implementation of the previous sphere in study, work, play, sports, communication, creativity, being a connecting link between the individual and society.
The sphere of social aesthetic space is formed by all social phenomena surrounding the student in the course of his various activities (the institution of family, educational institutions, politics, ideology, religion, morality, science, art).
Territorial aesthetic space is a historical and cultural concept of the era, being the most extensive aesthetic sphere.
The historian of development and the main impetus for the formation of aesthetic culture has traditionally considered need. In our opinion, Soviet pedagogy made a conceptual mistake when it exaggerated the role of the student’s aesthetic needs, insisting on the primacy of the child’s desire for beauty. Only in the 1980s. The researchers come to the conclusion that in the aesthetic development of a person, “the starting point is a certain level of aesthetic awareness,” and not at all a need.
Aesthetic education is inextricably linked with labor education. "You can't imagine... labor education without knowledge of beauty in the goals, content and process of labor..., at the same time, it is impossible to imagine aesthetic education divorced from active creative activity and the struggle to achieve ideals.”
1.2 The role of aesthetic education in the comprehensive development of personality
The concept of aesthetic education is organically connected with the term “aesthetics,” which denotes the science of beauty. The word aesthetics itself comes from the Greek aisthesis, which translated into Russian means sensation, feeling. Therefore, in general terms, aesthetic education refers to the process of forming feelings in the field of beauty. But in aesthetics, this beauty is associated with art, with the artistic reflection of reality in the consciousness and feelings of a person, with his ability to understand beauty, follow it in life and create it. In this sense, the essence of aesthetic education is the formation in students of the ability to fully perceive and correctly understand the beauty in art and life, the development of aesthetic concepts, tastes and ideals, and the development of creative inclinations and talents in the field of art.
Aesthetic education is carried out through art. Therefore, its content should cover the study and introduction of students to various types of art - literature, music, fine arts. An essential aspect of aesthetic education is also the knowledge of beauty in life, in nature, in the moral character and behavior of a person.
An equally important aspect of the content of aesthetic education is its focus on the personal development of students. The most important element of the content of aesthetic education is the development of artistic perceptions in students. These perceptions must cover a wide range of aesthetic phenomena. It is necessary to teach students to perceive beauty not only in literature, fine arts and music, but also in nature, as well as in life around them.
An important place in the content of aesthetic education is occupied by the formation in students of high artistic tastes associated with the perception and experience of beauty. Nurturing diverse aesthetic needs is a necessary condition for the spiritual wealth of the individual. Therefore, the direction of interests in all the main aesthetic aspects of life is a measure of how complete a person is aesthetically. That is why it is the quantitative indicator of objects aesthetically perceived by a schoolchild that indicates his aesthetic maturity
Our task is to instill in schoolchildren an aesthetic attitude towards work. It happens that schoolchildren know how to work beautifully, receive satisfaction from their work, and bring beauty into life. All these components of labor aesthetics. However, the feeling of beauty in work should be transferred to the level of a clear awareness of the aesthetic qualities that characterize work. Here, an important place belongs to art, which is used by teachers in their work.
The perception of the beauty of work, science, man, nature, art activates the creative forces of the student. This manifests itself in different ways. Experiencing and understanding the aesthetic sometimes awakens artistic abilities: observation, emotionality, creative imagination. There is a need to express it in paintings, literary works, music, etc. that which is aesthetically exciting in life. In other cases, the student tries his hand at scientific creativity and strives to find the most elegant solutions to cognitive problems. The student may have a willingness to create in the sphere of social life, to preserve and multiply the beauty in relationships between people. Awakened by aesthetic values, creativity can turn to the personal, internal world. Then the aesthetic contributes to the formation of independence, self-awareness of a person, understanding of one’s mental abilities, their critical assessment, and the experience of advantages and disadvantages. The aesthetic stimulates self-education: an ideal is developed, a desire is evoked to be like it, to change one’s life, to consciously fight one’s shortcomings, to control oneself, to develop positive traits. At the same time, self-development is associated with various areas of activity: communication, knowledge and work.
Aesthetic education is the result of targeted aesthetic influences on a student, carried out in the unity of the processes of teaching, upbringing and development. The aesthetic attitude creates the basis for the practical aesthetic activity of students, forms a certain emotional and imaginative assessment of objects, and awakens interest in them.
Aesthetic education, being part of ideological, moral, labor and physical education, is aimed at the comprehensive development of a new person, whose intellectual and physical perfection is combined with a high culture of feelings. An aesthetic attitude towards the world is, of course, not only the contemplation of beauty, but, first of all, the desire for creativity according to the laws of beauty.
Chapter II. Subject-based practical activities of students in technology lessons
1 Technology lessons in elementary school
As teachers, we are especially interested in the problem of artistic and aesthetic education of students. It is aimed at developing in children the ability to feel and understand beauty in nature, art, and developing artistic taste.
In the system of working with junior grades, we implement two main educational aspects of subject-based practical activities:
Ensuring active “communication” of children with various craft materials;
Accustoming them to meaningful, creative work that cannot be reduced to mechanical exercise of the hands.
In accordance with the first aspect, we gradually include the most different materials: paper of various types, cardboard, fabric, threads, dried plants, seeds, foil, buttons, plasticine, etc. We teach children to master different ways processing these materials, using the simplest hand tools and performing practical operations - this allows children to develop basic sensory processes, which themselves are the “entrance gate” of all cognition. Together with children we study the properties of materials, the features of “behavior” during various processing techniques. At the same time, we do not set the task of giving children any special knowledge about materials. First grade students are not required to memorize, for example, the names of different types of paper or fabric, etc. We think this is absolutely unnecessary for general education and this will only burden the kids’ memory. However, we are trying to form in first-graders a unique “sense of material”, without which free design activity is impossible. Children gradually acquire the habit of independently experimenting with materials, working creatively and fearlessly. At first, the basic techniques, of course, have to be demonstrated and practiced well, but gradually the children themselves will expand the acquired knowledge and the ability to use it in more serious situations. creative works.
The second aspect of the work assumes that, on the basis of certain practical actions, students carry out serious mental and emotional activity and develop the most important cognitive processes and abilities, primarily sensation, perception, attention, imagination, and thinking. This means that mastering practical work techniques is not an end in itself for labor lessons. Subject-related practical activities at this age are very effective remedy, with the help of which it is easier for a small schoolchild to solve more serious cognitive problems than to carry them out “in his head.” This is an objective, well-known psychological pattern, which was taken into account when developing textbooks and methodological recommendations for them. A first-grader not only makes crafts and “gets his hands on” processing certain materials, but every time he carries out an active cognitive activity.
From the first lessons we pay serious attention to the organization of work, we teach children to timely and thoroughly prepare everything they need for the lesson, and during the lesson they gradually maintain order in the workplace. From the very beginning, we make sure that children perform all operations correctly, teach them to use glue correctly, apply it, evenly distributing it over the surface of the part to be glued; Be sure to dry the products according to all the rules so that they do not warp.
One of the most common operations when processing paper is folding. We teach children how to work folds correctly, this allows them to work more easily and efficiently in the future.
We pay attention to such issues as saving materials and time, marking is only on the wrong side. At the same time, we organize work in such a way that students consciously assimilate the necessary rules and requirements, and do not carry them out willy-nilly. When working with paper, we spend a few minutes at the appropriate stages of the lessons discussing how to most rationally organize the work. How can you economically mark out the parts, prepare them as quickly as possible, etc. At the same time, do not forget to note in the lesson that saving is not commercialism or prudence; it requires intelligence and makes the work more graceful and beautiful. This is also achieved by strict adherence to all work rules.
During technology lessons we pay great attention to safety precautions when handling tools. We introduce children to the rules and ensure strict and strict adherence to them. This work is carried out systematically and consistently, as certain tools are included in the activity, along with the development of techniques and work culture. During the first task, getting to know the tools, we talk about the rules for handling them, demonstrate the operation of the tool and, if possible, perform appropriate exercises with the students. In the future, we have to constantly remind children about safety rules, monitor their compliance, and, if necessary, specifically practice them in exercises.
The concept of the beauty of labor includes the concepts of the beauty of the one who works, the beauty of the labor process and the beauty of the product of labor. Only meaningful work can be beautiful. The student cannot feel the beauty of the labor process, the purpose of which he does not know. In the process of creative work, the student improves himself, achieving harmony of his strengths and abilities.
The topics of lessons in primary school are wide and varied. It is represented by three large blocks: design, technical modeling and agricultural labor. Technology lessons are taught in accordance with the program and textbook intended for students.
Paper and cardboard processing
Paper and cardboard are materials with which the foundations of graphic literacy are laid. We introduce children to sketches, drawings and make markings based on them. Let’s not forget about a creative approach to work. The students made a pencil holder out of paper. We suggest decorating it with ornaments. Children come up with their own options and create. They decorate pencil holders as best they can, trying to make the craft beautiful, elegant, so that it pleases not only the person who made it, but also others. The children evaluate their own work. Everyone has their own attitude to beauty and its perception.
Paper and cardboard products: toys, souvenirs, panels, postcards, appliques, silhouette cutting (Appendix Fig. 1,2,3,4)
Processing of natural materials
Lessons on working with natural materials contribute to the development of children's imaginative ideas, visual memory, imagination, and creative abilities; help develop initial skills in processing natural materials, connecting parts using plasticine and quick-drying glue; In the lesson I cultivate love and respect for nature. In lessons on processing natural materials, I give children the initial skills of making products from natural materials. Working with natural materials is a creative process, so children's imagination is encouraged in the lessons. Having mastered the initial techniques of processing and assembly, children independently make various products from natural materials.
Products made from natural materials: souvenirs, panels made of dried plants, compositions, appliqués. (Appendix Fig. 5.6)
Lesson outline Panel “Autumn” 1st grade lesson:
To familiarize students with various natural materials (leaves, nuts, cones, tree branches, fluff, etc.)
Teach children to create small panels from natural materials.
To cultivate diligence, accuracy, aesthetic taste, and the desire to complete the work started.
Teaching methods: Story, demonstration, practical work.
Equipment and materials: Leaves of various shapes, glue, scissors, colored cardboard.
Lesson type: Practical.
Time: 45 minutes
Interdisciplinary connections: History: information about the history of the toy; literature; connection with fairy tale characters.
During the classes. Organizational moment (3-5 min.)
Check students' readiness for the lesson, mark those who are absent.. Communicate the topic and goals of the lesson (7-10 min.)
Today in the lesson we will create a panel “Autumn” from natural materials. Our goal: to learn to see the unusual in ordinary materials. Repeat safety precautions when working with scissors and glue.
Rules for safe work with scissors No. 5.
Rules for safe work with glue. No. 6. Practical work (14-15 min.)
The work proceeds in stages:
Conversation with children.
Look at I. Levitan’s illustrations “Golden Autumn”, “Autumn Morning. Fog". Guys, what is shown in the picture? What season? How have the trees changed? What colors did you like best in the painting? Now let's look at the autumn leaves that lie on your tables.
I give you time to admire the beauty of autumn leaves. What mathematical figures do the leaves resemble? What color are the leaves? What do the leaves smell like? Which leaf did you like best?
Independent work of children.
Come up with a plot for the panel “Autumn”
Fizminutka
Individual work with children. (I draw the child’s attention to the fact that different leaves can be used to make beautiful panel in the form of a circle, flower). After finishing the work, we come up with a name for our creations together. (“Autumn Sun”, “Golden Carpet”, “Memories of Autumn”. Summing up
The teacher sums up. Children talk about their work from an aesthetic point of view (which I did better, more beautifully).
Each child evaluates his own work and the work of his friends. Cleaning the workplace. Homework.
Plasticine processing.
In lessons on processing plasticine, we introduce children to the properties of plasticine, the basic elements, and tools. From the first grade we make the first simple crafts (snakes, snails, bugs, caterpillars, fruits, vegetables). Get acquainted with the elements of modeling (ball, rope, cone, tape, etc.) Get acquainted with the elements of modeling: tearing, rolling, rolling, flattening, indentation, connection. For successful learning For children, we use individual artistic products in modeling techniques, using samples of which students analyze shape, proportions, get acquainted with various ornaments, colors, etc.
Introducing children to some handicrafts, especially toys, certain types of tableware, as well as available decorative modeling techniques, has a positive impact on the comprehensive development of the child’s personality, nurturing his aesthetic taste and creative abilities.
Folk art is figurative, colorful, and understandable to children, as it reveals the beauty of the surrounding world in simple, laconic forms.
Plasticine products: plasticine paintings, figurines of birds, animals, folk toys, decorative plates. (Appendix Fig. 7.8)
Fabric processing
Fabric is the main textile material that primary schoolchildren work with in technology lessons. Initially, we introduce certain sewing techniques and safety precautions when working with needles. We teach children how to correctly mark parts on fabric according to a pattern; mastering stitches is carried out during exercises and during the manufacture of products. Practical work with fabric is mainly individual, but can also be collective, depending on the type of work. In the process of practical work, children make socially useful products: napkins, bookmarks, potholders, toys. (Appendix Fig. 9.10)
Children's creativity should be present in every lesson and every extracurricular activity. It must be supported, encouraged and developed, otherwise, where will we get innovators and inventors from?
Full use of the educational, educational and developmental potential of this area creates a solid basis for the formation of a creative, intelligent person who is practically proficient in various types of activities and the ability to solve emerging problems in front of him.
2.2 Technology lessons in high school
Aesthetic education is the most important aspect of raising a child. It contributes to the enrichment of sensory experience, emotional sphere personality, affects the knowledge of the moral side of reality, increases cognitive activity, and even affects physical development.
Aesthetic education in technology lessons in high school is based on developing the interest and creative capabilities of schoolchildren. All educational products are selected taking into account a number of psychological characteristics students, since only in this case does interest arise and motivation for further educational and cognitive activity appears. All objects of labor are selected in such a way that they are as educational as possible, have aesthetic appeal, and give an idea of traditional artistic types of material processing. In addition, the selected objects of labor open up wide opportunities for the development of creativity, which can be more fully realized in project activities, and, finally, can be performed in a school workshop.
Aesthetic education in the process of students mastering relevant technologies will be carried out more successfully when using the capabilities of modern computer software to illustrate the material presented, as well as to prepare working sketches.
Aesthetic education influences the development of artistic taste, spatial imagination, abstract thinking, eye, and accuracy. Work on aesthetic education of schoolchildren in labor lessons should be systematic and purposeful.
But in order to achieve results and raise an aesthetically developed child, you need to remember that “aesthetic education is continuous - it is carried out by all teachers, in all classes, all the time”
The educational field “Technology” aims to lay the foundations for preparing students for work in new conditions, to promote the education and development of an enterprising creative personality.
The system of classroom and extracurricular work in school in all academic disciplines should be aimed at solving these problems. Technological education plays a significant role in this. The educational field “Technology” has great potential for creating conditions for cultural and personal development schoolchildren. Full use of the educational, educational and developmental potential of this area creates a solid basis for the formation of a creative, intelligent person who is practically proficient in various types of activities and is able to solve the problems that arise before him. Minimum content of basic educational programs for the types of activities studied is reflected in two traditional directions for the Russian school: “Technology. Technical work" and "Technology. Service work." The introduction of the educational field “Technology” into the State Standard has posed many tasks for the school, one of which is methodological and technological support for classes in various sections.
The need to develop and introduce a new educational field “Technology” is due to those profound social changes in all spheres of our life that have affected the production relations of ownership, exchange and consumption of material and cultural goods and services, which required a fundamentally different approach to the issue of preparing the younger generation for independent life.
Cooking lessons
Almost all topics of the program in the subject “Service Labor” allow for the aesthetic education of schoolchildren in labor lessons.
Thus, in cooking classes, the teacher develops in students the skills of setting the table and decorating it; behavior at the table. He conducts conversations about how dishes, table decorations and tablecloths, and the interior of the room should be combined; gives advice on serving everyday and holiday tables.
Schoolchildren learn to cut fruits and vegetables using various devices; decorating dishes with onions, parsley and dill; vegetables that make up the dish. In the process of such work, girls acquire the ability to combine the useful with the beautiful.
When conducting cooking lessons, our task is to equip schoolchildren with knowledge and skills in food processing technology. Students are able to perform technological operations in the preparation, presentation and storage of various culinary dishes and food preparations. In class we introduce the basics rational nutrition, properties and nutritional values of food products, and also introduce us to the professions of the food industry: cook, confectioner, technologist, etc.
In cooking lessons, we form and develop students’ skills to make independent decisions, to take a creative approach to doing work (while observing technological discipline), to make economic calculations, to find the best way solving the problem, working with technological documentation, setting everyday and festive tables, using cutlery correctly. When students perform practical work, we focus on economical handling of products during the cooking process. When studying this section, we pay special attention to the use of various tools and devices, heating devices, compliance with labor safety rules and sanitary and hygienic requirements.
We introduce girls to the history of the emergence and development of cooking, national cuisine, diet, types of table settings, etiquette rules for eating, inviting guests and their communication during the feast. When studying each topic, students gain knowledge about the nutritional value of the products being studied, their importance in human nutrition, preparation, presentation and storage.
In practice, we use posters, tables, instruction cards, and special literature to develop knowledge and skills in cooking technology, along with demonstrations of labor techniques in the process of preparing dishes.
The task of the introductory lesson of the section is to provide visual perception and conscious understanding of the essence of what is being studied technological process and the relevance of the product. Students become familiar with the purpose of the upcoming work, its content, practical tasks, technological documentation, workplace organization, and safe work rules. Particular attention is paid to the demonstration of labor techniques, accompanied by a demonstration various means training.
In grades 5-7, girls acquire practical skills in processing food products and preparing individual dishes from them. From class to class, practical cooking work becomes more difficult. In grade 5, students master the processes of preparing various types of sandwiches, egg dishes, hot drinks, and salads from raw and boiled vegetables. In 6th grade they prepare dishes from pasta, milk, jelly and compote. In 7th grade, they must prepare a complete lunch: a meat or fish appetizer, soup, a second course of meat or fish, and dessert. In 8th grade, students bake products from various types of dough. In the 9th grade they learn how to preserve food.
To ensure that students acquire practical skills more firmly, we provide introductory, ongoing and final instruction. This helps students analyze and control their work, prevent errors, or identify and eliminate them in a timely manner.
When choosing teaching methods, we proceed from the goals of developing the cognitive interests and abilities of students. Girls become interested in work the moment they are told what dishes they will prepare. The development of interest in work depends on the creative atmosphere that arises in the process of preparing dishes, encouraging independent practical or research activities of schoolchildren.
At the final cooking class, a festive tea table is set according to all serving rules. Girls bring dishes and baked goods from home, prepared and decorated on their own or with the help of their parents, and a celebration is held. During tea drinking, dishes are tasted and recipes are exchanged. And, of course, the conversation is conducted according to the rules of etiquette.
(Appendix Fig. 11,12)
Fabric processing aesthetic education lesson technology
An important feature of technology as a general education discipline is its integrative nature and practice - the orientation of the knowledge and skills formed in students. Mastery of them occurs in the process of manufacturing specific products, which is why the choice of objects of labor is so important. They correspond to the curriculum and are selected depending on the level of knowledge and skills of schoolchildren, taking into account their interests and financial capabilities. These products are of various designs, sizes, and have a variety of finishes. All practical work is accessible and feasible for students.
Planning and preparation of each regular lesson are based on a calendar - thematic plan. Based on the content of the training, each lesson specifies the educational and educational goals of the lesson. Technology classes are usually of a combined nature. Particularly noteworthy are classes on the final test of knowledge, laboratory and practical work.
When drawing up a lesson plan, we provide for its introductory, main and final parts. We focus on new concepts and skills, features of product manufacturing technology that students must master and practically apply. We prepare appropriate material, technical and visual support for the lesson. The study of each section begins with an introductory lesson, the purpose of which is to familiarize students with the goals of the upcoming work, the content of new material, practical tasks, workplace organization, and safe work rules. We pay special attention to demonstrating work techniques. Before the lesson, we set ourselves the task of ensuring that schoolchildren meaningfully master the technology of making a garment. At the same time, it is important to develop in students certain knowledge, skills and abilities in the process of working on the product. We guide, observe and correct the practical activities of students. With each year of study, the share of the teacher’s directing activities decreases in favor of his corrective or consulting activities.
When studying “Fundamentals of Materials Science,” girls design collections of fabric samples, on which they learn to use contrasting combinations in fabric colors and create various compositions: characters from cartoons, fairy tales, animal figures, etc.
An important role in the aesthetic education of students is played by the use of elements in labor lessons. folk art, arts and crafts.
“Manual creative labor, which forms the basis of the activities of folk artistic crafts, is a form of labor that has survived to this day, naturally combining all aspects of the human personality, demonstrating in a continuous whole the ability of a person to feel and create, to work and rejoice, to learn and teach others.”
So, in a materials science lesson in the 5th grade, girls get acquainted with the properties of linen and cotton fabrics when making a spinning doll.
Purpose of the lesson: to expand students’ understanding of the properties of linen and cotton fabrics, to provide information about Russian folk toys, Russian folk costumes.
From time immemorial, the traditions of dolls made from scraps of fabric and fur have come to us. The toy was given magical meaning. Homemade rag dolls were faceless: the face was replaced by a pattern in the form of a cross, rhombus, square, etc. By folk beliefs a doll with a face seemed to acquire a soul and could harm the child. Therefore, the faceless doll was also a talisman. And by the way the doll was dressed up, they judged the taste and skill of the owner. Before starting to make a toy, it is necessary to orient the student towards a certain image of a rag doll. You can suggest making a sketch of it in color. For a doll's costume, cotton and linen fabrics bright colors - chintz, linen, satin. These fabrics are very easy to cut, do not stretch, and are well stitched and glued together. Showing samples of fabrics, the teacher explains how to identify the lobe and weft threads, the front and back sides of fabrics, and draws attention to the structure of the weave of the threads.
The physical and mechanical properties of fabrics - strength and wrinkleability - are used when selecting fabric for the body. It is necessary to pay attention to such technological properties of the fabric as thread fraying and shrinkage, taking into account which the finishing of the suit is selected (braid, ribbon, buttonhole stitch, zigzag processing on a sewing machine). With the help of the teacher, students select scraps of different colors and patterns for the doll's costume. The teacher gives brief information about the features of the Russian (Chuvash) folk costume, its color scheme and coloristic features. Invites students to decide for themselves how to process sections depending on the studied properties of the tissue.
Then the doll is made, the results of the lesson are summed up: When making a twist doll, students became acquainted with the properties of cotton and linen fabrics, and completed an original object of labor. When assessing the work, the accuracy of its execution, the correct selection of material, and independence in deciding the image of the doll are taken into account.
The task of the final lesson is to consolidate and control the knowledge and skills of students in this section. We solve it with the help verification work various types (tasks, questions, exercises, crosswords, etc.). Fabric products: potholder, patchwork napkins, apron, scarf, nightgown, skirt, shorts. (Appendix Fig. 13,14)
At knitting lessons we introduce brief information from the history of this ancient needlework, and products made using the knitting technique. In the first lessons, we select materials and tools for knitting, introduce the rules for selecting knitting needles from steel, plastic, depending on the quality and thickness of the thread, study the symbols used when knitting, working techniques, correct position hands Knitted items: doll, scarf, hat, socks, booties, gloves, cosmetics bag. (Appendix Fig. 15,16)
Designing fabric products is a very important stage of work. It is this process that develops the child’s creative abilities: taste, sense of color, compositional solution, choice of artistic image. At embroidery lessons we introduce the creativity of folk craftsmen of the older generation of our village, methods of transferring a design onto fabric, selecting a needle and thread. Learning to do the simplest things correctly hand stitches, rules for cutting the thread, threading the product into the hoop, securing the working thread to the fabric without a knot. In the classroom, we form and develop students’ skills to make decisions independently, to take a creative approach to doing work (while observing technological discipline), to make economic calculations, to find the optimal way to achieve a goal, and to work with technological documentation. Embroidered products: napkins, tablecloth, collars, potholders, paintings. (Appendix Fig. 17,18)
Plan summary lesson. Embroidery with Rococo stitch. Pincushion. 5th grade
give historical information about cotton threads and needles;
to develop interest in decorative and applied arts;
develop imaginative thinking, creativity, aesthetic taste
Equipment: multi-colored floss threads, needle, hoop, scissors, tracing paper, pencil, plain cotton fabric.
Progress of classes. Introductory part.
Organizing time
Preparation for classes
Safety briefing. Introductory speech by the teacher.
Guys, our guest Valentina Vasilievna came to our lesson today. You all know her, she embroiders beautiful paintings using satin stitch and cross stitch. Today she brought items that can be used to decorate your home rooms. Conversation with a local needlewoman. Review questions:
What did a girl cook for her dowry in ancient times? (I wove fabric, sewed clothes, embroidered towels, tablecloths and more.)
Were rich families engaged in embroidery? (Yes, this type of needlework was practiced even in the royal family.)
Before you start embroidering, what should you do first and why? (Iron the fabric, as the presence of creases will affect the quality of the work.)
How can you align the edges of a napkin? (Pull out the warp and weft threads alternately.) Contents of classes.
Historical information about cotton threads.
Teacher. Usually, every needlewoman has several basic items in her arsenal, without which she cannot work. They even came up with many riddles about these objects. Guess them:
On one finger the bucket is upside down. (Thimble.)
The tool is experienced, neither big nor small, it has a lot of worries: it cuts and shears. (Scissors.)
Thin, long, one-eared, sharp - red for the whole world. (Needle.)
To sew, you need a needle and... (thread).
Our next story will be about threads. Cotton thread for sewing and embroidery appeared in Rus' much later than woolen and linen thread. Thus, in the northern provinces, where linen threads were predominantly used, in the 18th-19th centuries they almost everywhere began to be replaced by imported cotton threads. And as soon as they were not named! At the beginning of the first half of the 18th century, red cotton yarn was brought from Turkey and Crimea to Moscow (via Ukraine), so it was called Crimean. In the Vyatka province it was difficult to get such a thread, therefore in the Vyatka regional dictionary of 1772, red cotton threads are called “dostal”. Scarlet-colored cotton yarn was called kumak by Russian peddlers; they supplied the Baltic states with kumak. It is interesting that among the East Slavic peoples, in the 19th century, cotton thread was called “zapolochya,” and among the peoples of Mordva, this thread was called “maslyanka” from the method of its processing - to give shine, it was boiled in hemp or linseed oil.
Historical information about the needle.
Teacher. It is not for nothing that there is a proverb: “Where there is a thread, there is a needle.” They cannot exist without each other - if a needle is lost, the thread will not always find a use. It's time to learn something new about the needle. The first needles appeared in ancient times. They were, of course, not steel and were made from fish bones. Our distant ancestor made a small hole in a needle - an eye - and sewed with sinew threads.
The historical encyclopedia claims that on the territory of our country, a bone needle with an eye was used in human use during the Late Paleolithic period, that is, 19,000 years ago. Needles and pins, found by European archaeologists and dating back to the 1st millennium BC, are not inferior to their modern sisters in their elegance and practicality.
A revolution in needle making occurred in the 14th century, when wire drawing was invented. For a long time, Germany and Spain were considered the main suppliers of this product in Europe. But since 1650, the British seized the monopoly, creating special machines for the production of needles.
The history of the Russian industrial needle comes from Peter I. By his decree of 1717, Russian merchants brothers Ryumin and Sidor Tomilin built two needle factories in the villages of Stolbtsy and Kolentsy on the Prona River. And isn’t it strange that those same needles had to be used by the former queen, the first wife of Peter I, Evdokia Fedorovna Lopukhina, who mastered the craft of embroidery during the days of her almost 30-year imprisonment in monasteries and the Shlisselburg fortress. She told her grandson, Peter II, about this when donating a ribbon and star on the occasion of her release: “I, a sinner, brought it down with my own hands.”
And yet, this simple object has firmly entered the life of the poor, becoming a real symbol of hard work. “A village stands by a needle and a harrow,” they said in the old days.
Introduction to the practical part.
Teacher. In today's lesson we will begin to make a needle bed, which is made with a twisted cord (or coiling). This is a very beautiful seam, it is notable for the fact that many turns are wound on the needle and a long stitch is obtained. IN folk embroidery such a seam is called “twisted”, “curly”, “twisted”, and in modern embroidery it is known as “rococo”.
Winding can be used to embroider many floral designs on a variety of fabrics. To work, you need long thin needles, floss threads, and a hoop.
Practical part: making a twisted seam.
Teacher. In order to start making a product with this interesting seam, let’s first practice on a fabric sample (Fig. 41).
Let's prepare a plain fabric. Draw the outline of the pattern onto the fabric. We fasten the thread from the wrong side or under the stitch and bring it to the front side of the fabric.
Stepping back a little, we stick the needle into the fabric from right to left and bring it to the place of the first puncture on the front side. We make 9-10 windings of the working thread onto the tip of the needle and, holding the windings of the working thread with the fingers of our left hand, we pull the needle through. Then we stick the needle into the previous puncture and bring it out next to it, pulling the thread.
The result is the first flagellum - a flower petal. This is how we perform the second and all subsequent stitches - chamomile flagella, roses, chrysanthemums, embroidered with colored threads.
Making a pincushion.
Let's mark a square on a plain fabric with the size cm. Add 1 cm to the seams. We translate any drawing using tracing paper (Fig. 42, a, b).
We select the color of the thread according to our wishes. In addition to the twisted seam, we use a satin stitch.
After completing the embroidery, cut out the second part (the lower part of the needle bed) from the same fabric. We fold the parts with the right sides inward, and sew three sides of the product on the sewing machine. The details can be sewn by hand using small stitches. We do not sew the fourth side completely, leaving a small hole. We fill the needle bed with cotton wool, carefully sew the hole.. Summing up. Mini-exhibition. Discussion of students' work. Which of the works was performed technologically and aesthetically correctly?
In the new academic year, we will continue to work on the problem of aesthetic education in technology lessons, using various pedagogical technologies that ensure the activation of students’ creative abilities. The teacher’s task is to form in the child an aesthetic attitude to reality, the need for activity according to the laws of beauty. By developing aesthetic taste, teach schoolchildren to see and appreciate beauty, i.e. to cultivate a culture of aesthetic education and feelings.
3 The result of aesthetic education of students in technology lessons. Work efficiency
Three levels of aesthetic development of schoolchildren can be distinguished
A low level of aesthetic development is characterized by the following indicators: negative attitude towards beautiful products; lack of desire to create aesthetic products. Indicators of ability are as follows: students do not distinguish between beautiful and ugly objects, and do not distinguish the concept of “beautiful.” Their ability to tinker is poorly expressed. They have an idea of the beauty of a product, but cannot explain why specific samples are beautiful, and have a weakly expressed ability to create. Students have an understanding of the beauty of objects, they can show which product is more beautiful, but they explain it in a confusing, confusing way; they do not have sufficiently developed skills to create beauty.
The average level of aesthetic development is characterized by the following indicators: the desire to have bright, catchy products; interest in beautiful products; interest in aesthetic products and the desire to make the same object as the sample. At this level, the ability indicators are as follows: they have a concept of beauty, what the beauty of a product lies in, but cannot explain how to do it, i.e. do not know the technology of making a product and creating a beautiful object; have a concept of beauty, can explain why an object is beautiful, and also talk about the technology of its manufacture, name the tools with which the object is made, they can design and manufacture it themselves, but it is not beautiful enough; have an understanding of beauty, can explain what it consists of and what the manufacturing technology is, and can also repeat and create similar products.
A high level of aesthetic development is characterized by the following indicators: the presence of a need to create beautiful products; the need to contribute to all manifestations of beauty, improving various objects, the search for beauty in life and reality. At this level, the ability indicators are as follows: students can explain how the beauty of an object and manufacturing technology are expressed, the materials and tools used, ways to create their own options based on what was proposed; having studied the proposed sample, they can analyze it, suggest technology, and also independently produce a product better than what was proposed; They create fundamentally new product designs based on their own idea of beauty, and choose the optimal technology for manufacturing objects.
The transition from one level of knowledge to another, higher one, occurs as a result of active activity, which leads to the development of certain personality qualities. Beauty is achieved by students both with sufficient ability to accurately perform labor operations and with the ability to obtain a high-quality result of labor.
When assessing the result of work, the “aesthetically pleasing” criterion can be used. This criterion is used when considering both intermediate and final performance results. Failure of the teacher to use this criterion leads to the formation of an incomplete understanding of the surrounding reality in students and leads them away from solving the problem of forming a comprehensively and harmoniously developed personality.
The use of modern educational technologies and a person-centered approach to teaching aesthetic education made it possible to obtain the following results: Fig. 2, fig. 3.
Quality of academic performance - 100%,
The number of students studying at “4” and “5” levels was:
2008 academic year year - 88.75%;
2009 academic year year - 89.79%;
2010 academic year year - 90%;
2011 academic year year - 90.2%.
Fig.2. Level of training, quality of students' knowledge.
Rice. 3. Diagram of the level of aesthetic education of students in technology lessons
Once a year we hold a school exhibition featuring children's work. We also take part in regional competitions, taking prizes and honorable mentions, which makes us happy that children’s work is appreciated. “Table 1” As a result, we came to the conclusion that technology lessons allow not only to develop aesthetic culture, but teach them to think systematically, with an understanding of the processes taking place, helps teach them to analyze everything that happens around them, to see phenomena and systems not only in structure, but and in time dynamics.
Table 1
Participation of students in regional competitions
Academic yeareventF.I. 998District competition "Country of Masters" Olya Malakhova72Diploma2000District competitionMestyashova Lyuda62Letter of thanks2002District competition "Country of Masters"Klyosova Marina81Diploma2003District competition "New Year's Toy"Belyaeva Lena Malakhova Tanya8 81 1Letter of gratitude, monetary reward20 07 Regional competition “Masters and Apprentices” Natasha Karaskina62 Letter of gratitude 2008 Regional competition “Masters and Apprentices” Lyuba Malysheva , Panfilova Katya, Malyshev Misha9 9 71 1 1Diploma Diploma Diploma
We believe that aesthetic education will be more effective if students are given the opportunity to independently “discover” the laws of beauty and harmony and apply them in the process of their own creative activity.
Conclusion
The results of our work showed that the driving force for the development of aesthetic education is the formation of motives that stimulate the individual to take independent creative action, to demonstrate his own uniqueness, to include students in the process of creative search for non-standard solutions, and to demonstrate the products of educational and creative activities. The results also indicate that purposeful work on aesthetic education contributes to the development of aesthetic taste and creative activity.
Working on the development of aesthetic education in children in technology lessons, they developed a steady interest in technological creativity. And if we want to see our children as aesthetically developed, creatively free individuals, then, when coming into contact with them, we must be able to understand their motives and needs and skillfully direct the course of their development.
Thus, we have revealed that aesthetic education is aimed at solving the following problems:
developing in children the ability to perceive, feel, correctly understand and appreciate the beauty in the surrounding reality and art;
developing skills in using art to understand people’s lives and nature itself;
development of a deep understanding of the beauty of nature, the ability to protect this beauty;
development of children's creative abilities, skills and abilities to feel and create beauty in the surrounding life, in the classroom, at home, in everyday life;
development in children of an understanding of beauty in human relationships, the desire and ability to bring beauty into everyday life.
During lessons, children look forward to new interesting tasks, and they themselves take the initiative to find them. The general psychological climate in the lessons is also improving: the children are not afraid of mistakes, help each other, and are happy to participate in various events held both at school and at the district level.
Literature
Identification of knowledge and skills of students in service work // School and production. - 2003. - 6. - from 57 - 62
Golkin, V.V. I'm entering the world of art. Educational and methodological library. - M., 2002. - 134 s
Golkin, V.V. I'm entering the world of art. - M.: All-Russian Center for Artistic Creativity. 2002.- 135 p.
Kruglikov G.I. Methods of teaching technology with a workshop: Textbook. aid for students higher ped. textbook establishments. - M.: Publishing center "Academy", 2002. - 480 p.
Moleva G. A. Bogdanova N. A. Formation of the ability to learn in technology lessons (service labor) // School and production. - 2000. - 3. - from 64 - 66
Moshak V.Z. Introduction to standardization in technology lessons // School and production. - 2000. - 8. - p. 6 - 8
Ogerchuk, L.Yu. Technology training program. Grades 1-4 [text] / O.V. Pavlova. - Volgograd: Teacher, 2006. - 25
Programs "Technology": grades 1-4, grades 5-11: For secondary educational institutions of the Russian Federation. - M., 2000. - 158 p.
Pushkin V. A. Teach to see and create beauty // School and production. - 2002. - 6. - from 68 - 69
Technology: Textbook for 5th grade students of secondary schools (option for girls) V. D. Simonenko, Yu. V. Krupskaya and others; Ed. V. D. Simonenko - M.: Ventana-Graff, 2003. - 256 p.
Technology. 6th grade: lesson plans based on the textbook, ed. V.D. Simonenko/ed. - comp. O.V. Pavlova, G.P. Popova. - Volgograd: Teacher, 2007. - 287 p. - ISB No. 5 - 7057 - 0966 - 8
Technology: Textbook for 7th grade students of secondary schools (option for girls) V. D. Simonenko, Yu. V. Krupskaya and others; Ed. V. D. Simonenko - M.: Ventana-Graff, 2005. - 100 p.
Handicraft technology. Brief encyclopedia of embroidery publishing house "Uchitel" Author - compiler. O.N. Markelova Volgograd 2009 from 3-12
Khutorskoy A.V. Modern didactics: Textbook for universities. - St. Petersburg: Peter, 2001. - 544 p.
Application
Photographic materials. Works of elementary school students.
Fig.1. Card for mom
Fig.2. Made it yourself
Silhouette cutting
Fig.3. Work by Mestyashova Vika
Fig.4. Work by Vanya Gorbunov
Working with natural materials
Fig.5. Work by Malyshev Misha “Birch”
Fig.6. Work by Alyosha Bogodukhov, Veronica Sobyanina, Tanya Potekhina.
Working with plasticine
Fig.7. Work by Anton Klyosov “On a walk”
Fig.8. Work by Anton Klyosov “Aquarium”
Working with fabric
Fig.9. Work by Alyosha Bogodukhov, Veronica Sobyanina, Tanya Potekhina. Soft toy"Kitty"
Fig. 10. Work by Alyosha Bogodukhov, Veronica Sobyanina.
Soft toy “Baby”
Photographic materials. Works of high school students.
Cooking
Fig. 11. Defense of a creative culinary project
Fig. 12. Table setting for breakfast
Working with fabric
Fig. 13. Work by Ksyusha Gorbaneva “Amulet”
Fig. 14. Work by Potekhina Nastya. Kitchen set (pot holder, mitten)
Fig. 15. The work of Malysheva Lyuba. Pullover with clown
Fig. 16. Olya Agarkova's work of booties
Fig. 17. Work by Olya Malakhova “Pansies”
Fig. 18. Natasha Panfilova’s work “Pink Roses”
Tutoring
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Aesthetic education in technology lessons
The comprehensive approach to education carried out by the school creates conditions for the most complete identification of the interests, inclinations, and abilities of schoolchildren. Incorporation into socio-cultural, moral, aesthetic, environmental and professional values is necessary for self-realization in the labor sphere and other areas of life. Aesthetic education plays a major role in training and education.
1.Under aesthetic education understand purposeful formation in man his aesthetic attitude to reality.
^ The purpose of aesthetic education in technology lessons is the formation of a comprehensively developed personality, capable of perceiving, feeling and appreciating beauty in the process of work.
The main idea of aesthetic education is understood as - education of the foundations of aesthetic culture and the development of artistic abilities; providing every child with opportunities to express themselves in artistic activities, work, enrichment with aesthetic knowledge, and improvement of skills.
The lessons set the tasks of aesthetic education:
1. creation of a certain stock of elementary aesthetic knowledge and impressions, without which inclination, craving, and interest in aesthetically significant objects and phenomena cannot arise;
2. formation, on the basis of acquired knowledge and development of artistic and aesthetic perception abilities, of such social and psychological qualities of a person that provide the opportunity to emotionally experience and evaluate aesthetically significant objects and phenomena, to enjoy them.
These tasks give a positive result only if they are closely interconnected in the implementation process. To implement the tasks of aesthetic education of school-age children, certain conditions are necessary, in particular a developmental environment.
It has an impact on the child that in its strength and significance can hardly be compared with others. If the environment is aesthetic, beautiful, if a child sees beautiful relationships between people, hears beautiful speech, such a child from an early age will accept the aesthetic environment as the norm, and everything that differs from this norm will cause him rejection. Details of the aesthetics of everyday life: furnishings, the beauty of people between people, a person’s appearance.
In recent years, attention has increased to the problems of the theory and practice of aesthetic education as the most important means of developing an attitude towards reality, a means of moral and mental education, i.e. as a means of forming a comprehensively developed, spiritually rich personality. The system of aesthetic education is designed to teach you to see the beauty around you, in the surrounding reality.
Making your own beautiful and necessary items causes increased interest in work and brings satisfaction with the results of work, arouses desire for subsequent activities.
2. Aesthetic education in technology lessons is based on the development of interest and creative capabilities of schoolchildren. Technology lessons are different from other lessons. It is closer to life, everything that you have studied can theoretically be made your own, but any business requires students to know aesthetic laws. I select all educational products taking into account a number of psychological characteristics of the students, since only in this case does interest arise and motivation for further educational and cognitive activities arises. I select all objects of labor in such a way that they are as informative as possible from the point of view of polytechnic education, have aesthetic appeal, and give an idea of traditional artistic types of material processing. For many years, students have been taking part in competitions, olympiads, conferences, and winning prizes. I, as a technology teacher, also take part in teachers’ CPD.
I have developed lessons in the form of an integral system of practical and theoretical tasks on costume composition, including the topics: “Color in clothes”, “Choose your style”, “Visual illusions”. The end result of the lessons is that children can master various artistic methods of processing materials and be able to independently make beautiful, useful things that bring satisfaction to the results. We are working with students on the topic “Me and Fashion.” Everyone sees fashion in their own way. The teacher’s task is to help the student understand the direction of fashion. Bring your costume to the laws of aesthetics: find your style, color, length, additions, decorations.
Aesthetic education in the process of students mastering relevant technologies will be carried out more successfully when using the capabilities of modern computer software. The computer has entered the life of the lesson. Students prepare presentations and projects. The teacher advises. Aesthetic education influences the development of artistic taste, spatial imagination, abstract thinking, and eye. In the process of creative work, it allows you to solve problems of personality development, the formation of a creative attitude to work and the problem of choosing a profession. Assessing the role of aesthetic education in the development of adolescents, in general, it can be argued that it contributes to the formation of their creative potential, having a diverse positive impact on development various properties, included in the creative complex of the individual. The works highlight the aesthetic principle - the necessity of the item, color combination, neatness, high-quality execution of the product. Project activity in technology lessons is the main factor in the formation of aesthetic culture. Currently, project activity is an independent type of activity, which can be mastered not spontaneously at the everyday level, but purposefully, in the process of organized learning. It is necessary to teach the student to feel beauty at all stages of project activity. In my work with students, I use Internet resources, books, and magazines. Here are some of them: 1. Burovik K.A “Pedigree of things.” Moscow, Znanie, 1985;
2. Volchek N.M., “ Patchwork", Minsk, Modern writer, 2000;
3. Kaminskaya N.M., “History of Costume”, Moscow, Legprombytizdat, 1986;
4. Kovareva B.N., Evdokimova E.F. “Embroidery Lessons”, Chisinau “Timpul”, 1989;
5. Orlova L.V., “The ABC of Fashion”, Moscow, “Enlightenment”. 1989;
6. Chernyakova V.N., Creative project on fabric processing technology, grades 5-9, Moscow, “Education”, 2002.
3. As a teacher, I am especially interested in the problem of artistic and aesthetic education students. It is aimed at developing in children the ability to feel and understand beauty in nature, art, and developing artistic taste. From this point of view, I consider the relationship fruitful educational areas"Technology" and "Art". I consider the objects of labor performed in technology lessons as a means of artistic and aesthetic education of schoolchildren. In most cases, these products have practical applications. Knowledge of the “laws of beauty” allows you to create things that have your own style and artistic image. Making useful and beautiful household items and clothing with your own hands makes technology lessons interesting and useful in the eyes of students.
I plan to continue work related to the aesthetic direction. On next year The project “History of clothing of the residents of Surgut” is being prepared at the Scientific and Production Complex “First Steps into Science”; “The History of the Ups and Downs of Skirt Length” is being prepared at the Senior School Scientific and Cultural Complex. For the technology Olympiad, the practical part of the project is already being prepared, in it the aesthetic, health-saving, and economic directions are thought through to the smallest detail.
4. In efficient mode educational technology lessons have been developed for the aesthetic direction; they take into account the tasks of the aesthetic direction. One of the main conditions for the full aesthetic development of children is the formation of their artistic abilities.
Aesthetic education in technology lessons is carried out in different forms depending on the principle of guiding their activities, the method of uniting schoolchildren, and the type of activity.
Sometimes appearance it is clear at what level the student is familiar with the laws of aesthetics. Without damaging your peace of mind, we gradually find the path to beauty. I suggest topics for conversation. “What color suits me?”, “My skirt length”, “Breakfast, lunch, dinner”, “My home is my castle”, “Beauty is always in fashion”, “Holiday in your home”.
A significant role in the aesthetic education of schoolchildren is played by their involvement in participation in school, district, regional, and regional competitions. It is at competitions that all the harmony of students’ work is visible
5. The dynamics of the results of using educational technology in practice has a positive growth. Over the years, my students have participated in various competitions and Olympiads and have achieved:
District Olympiad in Technology 2010
1. Belokozova Anastasia - 7th grade, project “Gift for the New Year” 3rd place.
2. Shimina Evgeniya – 11th grade, project “Baptismal linen”, 3rd place.
District Olympiad in Technology 2011
1. Panferova Tatyana 7 “a” class project “Interior Decoration” - 3rd place.
2. Belokozova Anastasia 8th grade “Dumka” project - 1st place.
3. Elena Meschanova 9 “b” grade “ patchwork quilt" - 3rd place.
4. Lyuleva Ekaterina 10 “b” class “Flight of Fantasy” - 2nd place.
5. Ekaterina Tikhonova, 11th grade “Summer etude” - 1st place.
Scientific and practical conferences
1. “Careful. Fashion!" Tereshina Victoria - 1st place, district NPC - 2010
2. “Under the Heel” Tatyana Panferova - 3rd place, NPK “First Steps into Science” 2011.
3. “The role of fashion in the life of a schoolchild” Tereshina Victoria - 1st place, district scientific and training complex - 2011.
4. The role of fashion in the life of a schoolchild, Otradny NPK - winner in the category “for the social significance of the topic” in the “Cultural Studies” section - 2012.
In technology lessons, the project method is widely used; it helps to expand students’ knowledge in an aesthetic direction.
Aesthetic education based on technology is the cultivation of a sense of beauty and a general work culture.
Nurturing the individual’s creativity, proactive attitude to work, and free improvisation.
Education of moral and legal qualities: humanism, mercy, sense of duty, responsibility for one’s studies and work, behavior at home, at school, on the street; awareness of one's rights and responsibilities; mastery of aesthetic norms of human behavior in society.
Conclusion: In technology classes, the teacher has the opportunity to systematically and consistently form in students an aesthetic attitude towards work, which, first of all, is manifested in high-quality task performance and work culture.
References:
1. Barylkina L.P., Sokolova S.E., “For knowledge”, Moscow, 2006;
2. Beshenkov A.K., “Methods of teaching technology for grades 5-9”, Moscow, “Drofa”, 2003;
3. Makhmutova H.M., “We design, model, sew”, Moscow, “Prosveshchenie”, 1994;
4. Rybakina N.A., “Olympiad for schoolchildren in technology”, Samara, State Educational Institution SIPCRO, 2006;
5. Yudina A.M., “Our home is our way of life”, Moscow, “Knowledge”, 1992;
6. Magazines “School and Production”, 2001 No. 3.5 2002 No. 2,
Application
Oh, this Fashion!
Content
Contents……………………………..…………………………….....2
Introduction…………………………………………………………………………………..3
Problem ……………………………………………………………. 3
History of the problem ……………………………………….. 3
Relevance of the problem …………………………………………… 3
Target ………………………………………………………………….. 3
Main goals …………………………………………………… 3
Review of used literature and sources ………………….. 4
The degree of study of this issue …………………………… 4
Personal contribution of work to solving the selected problem …………. 4
Main part………………………………………………………...5
Collected and processed information ………………………….. 5
Characteristics of problem solving methods …………………… 16
Comparison of previously existing and proposed methods for solving this problem ……………………………………….. 16
Justification of the chosen solution option …………………… 16
Conclusion…………………………………………………………………………………17
The main conclusion from the results of the work ………………………….. 17
Directions for further research ………………………... 17
Suggestions for possible practical use of research results ………………………………………… 17
Informational resources ……………………………………………. 18
Appendix No. 1 “Test”………………………………………………. 19
A person outside of fashion does not exist: he is either old-fashioned, or modern, or ahead of the times, i.e. ultra-fashionable.
^ V. Zaitsev
I. Introduction
Problem:
History of the problem:
Today the word “fashion” is extremely popular. She is omnipresent in everything and always. A person outside of fashion does not exist: he is either old-fashioned, or modern, or ahead of his time, i.e. ultra-fashionable. We see fashionable cars, dishes, fabrics and, of course, clothes. But we must be able to choose what is fashionable, what is best and what is right. I decided to understand the fashion of clothing in the life of a schoolchild and identify the specific advantages, and most importantly, the dangerous and sometimes unnoticeable disadvantages that this sweet, but at the same time “vicious” word – fashion conceals.
3. Relevance of the problem:
The very dynamic development of all spheres of public life is two-way from the point of view of people. Fashion is no exception. Sometimes what is fashionable is almost deadly. Prevention of such phenomena should come both from the relevant authorities and from the schoolchildren and young people themselves. Therefore, I believe that the topic I have chosen is relevant. For schoolchildren, it is necessary to determine the rules that everyone would follow when creating their wardrobe
4. Purpose:
Draw up rules for creating a school wardrobe in the form of a project and a memo.
5. Main tasks:
1. Collect literature about fashion for schoolchildren;
2. Find definitions of fashion and its main rules;
3. Draw up a set of rules that should be followed by schoolchildren
6. Review of used literature and sources.
A variety of information resources were used in the work.
G.M. Chernyakova’s brochure “On fashion, clothing culture and the education of good taste” gives a general idea of fashion, its origins and development, and talks about the peculiarities of the perception of fashion by young people. The issues of clothing culture, education of taste among schoolchildren are considered;
Book by Cheremnykh A.I. "Fundamentals of artistic design women's clothing» about the relationship between applied art and clothing design technology, about the role of fashion in the lives of young people;
Tyr Yu.’s book “Everything for Young Gentlemen” talks about how a young gentleman will succeed in life;
Information about fashion, information about the direction of fashion for young people was collected from the Komsomolskaya Pravda newspapers;
Questionnaires were collected from magazines.
In total, all collected information was processed and analyzed.
7. The degree of knowledge of this issue.
A lot has always been said, is said and will be said about fashion - it’s inevitable. The topic is very relevant from all points of view, it offers a large area of research.
So, the degree to which this issue has been studied has not been fully covered. I would like schoolchildren to thoroughly learn all the ins and outs of fashion, and not follow it to the ends of the earth for the sake of recognition and popularity of their peers.
Personal contribution of work to solving the selected problem.
II Main part.
1Collected and processed information
"Pink Creature" in crinoline
“A huge tower of hair on a wire or hair frame with a lot of feathers, flowers and ribbons made me taller by at least an elbow. The inch-high soles under my ballroom shoes with gold ribbons embroidered were supposed to smooth out the imbalances of my small figure... The shell of a dense mesh of whalebone pressed on my arms and shoulders, pulled them back, laced my body up to my hips in the form of a vest. And also crinoline!” This is what a high society lady writes about children's clothing in her memoirs. This is exactly how children were dressed in the last third of the 18th century in wealthy families.
Unfortunately, until the 20th century, children's clothing was only a smaller copy of adult clothing. One can only feel sorry for the girl who is packed with all of the above. Nevertheless, children wore elaborate camisoles and dresses with trains at the beginning of the 18th century, and cinched their waists in the era of romanticism (from under full skirts The girls were wearing lush pantele decorated with lace). Many people are familiar with the famous portrait of the Infanta by the Spanish master of the second half of the 19th century - her fragile torso is tightly laced, her small hands lie on a huge crinoline. Small bustles created the necessary fashionable contours for girls' figures at the end of the 19th century.
The concept of children's clothing as an independent fashion trend arose only in the 2nd half of the 18th century. Under the influence of the French Revolution and new educational ideas, children's clothing begins(!) to become looser. Only towards the end of the 19th century were conclusions made that velvet, satin, and high-heeled shoes were not suitable for a nursery, especially for small children.
Before the revolution, clothing befitting one class, and only that class, was strictly prescribed. The maid had no right to wear the mistress's outfit, and what the young lady wore was not allowed to the peasant woman.
It is not for nothing that the twentieth century in fashion is called the century of the child. The problem of light, practical and hygienic children's clothing has finally been solved. However, it cannot be said that it has nothing to do with adult fashion. This was noticeable in the twenties. Nostalgia for the past is clearly visible even now, especially in dresses for girls. Again velvet, brocade, silk, lush long skirts, lace hats, high-heeled shoes. We can only hope that crinolines and corsets will not return). Well, we want to see our children as princes and princesses, and therefore expensive materials and complex styles are quite appropriate for a holiday (and not for a sandbox, as you sometimes see. But this is a matter of taste, or lack thereof).
After the Great October Socialist Revolution, in the conditions of the old way of life, the working people dreamed of the time when, in the words of A.P. Chekhov, everything in a person will be beautiful: his face, his clothes, his soul, and his thoughts. In the first years of Soviet power, experimental workshops and creative laboratories were organized with the aim of creating new fashion for clothing and household items. Cloth from soldiers' greatcoats, coarse homespun fabrics, calico - this, perhaps, was the entire range of materials from which clothes for adults and children were to be made. After the war and devastation, the industry could not produce the required quantity of fabrics of the required quality, the attire of women was simplified, replacing men in factories and factories, children wore altered clothes of their parents. Skirts were gradually shortened, and the range of women's clothing included pure male elements. But the artists had at their disposal a rich heritage - folk art, eternally alive and wise.
Time passed, old factories were restored, equipment was improved, new ones were built textile enterprises. It was not handicraft production, but a developed light industry that was able to clothe a giant country with shoes. The new emerging style of clothing also required new fabrics and designs for them.
The emergence of youth fashion was facilitated by the events of the so-called “explosion” of the youth and student movement in Western countries. Fashion began to be called something that in a normal person does not evoke any emotions other than awkwardness and embarrassment.
Oh, this fashion!
They always talked about fashion: in the city, in the village. Fashion trends were noted in hairstyles, clothes, cosmetics, shoes, and jewelry.
A generation has grown up that does not know the difficulties and worries of the post-war years. Often a blind, mechanical perception of fashion, the desire to keep up, to “catch up and overtake, to be no worse than others.” According to statistics, with an increase in family income, 14-17 year olds spend more on clothes and shoes Lately increased fourfold. Here we should talk about one important and alarming phenomenon that both adults and teenagers are guilty of - rivalry, competition in acquiring things, this applies not only to items of clothing, shoes, but also other things. Which give the owner “weight” and “prestige”.
For schoolchildren, in their quest for self-affirmation, the process of studying themselves, fashion, and comparing themselves with others proceeds quite vigorously, sometimes even with elements of demagoguery
Issues of fashion, education of good taste, instilling clothing culture skills, education of general culture are a good excuse to communicate on class hour.
The problems that arise regarding fashion are by no means overnight or momentary. Hungarian scientist Dr. Gyula Gaier notes that deviations in clothing, shoes, and cosmetics have always been one of the signs of young people who, with their appearance, strive to change everything ordinary, to break out of the circle of established norms. Regarding clothing, one should formulate an opinion carefully, not forgetting that we are talking about fashion as a transitory phenomenon. Schoolchildren tend to imitate. Trying to stand out among similar people, they always try to emphasize their originality with external colors - a suit, jargon, a new phone.
The fashion consumer has become very young. If a few years ago they only talked about the separation and isolation of youth fashion from adults, now the process of separation has become more profound. Experts divided fashion into age groups according to the degree of psychological, aesthetic, and material “preparedness.”
^ Fashion at school.
Elementary School. The children are dressed by their parents, they do not understand what fashion is, but the word fashion is already present in communication. We see the parents' fashion. Gradually, by the 4th grade, fashionable girls are visible in the classrooms. Boys treat fashion calmly; they think it’s a girly word.
Although psychologists say that schoolchildren at this age study from 5th to 8th grade. I can argue with them. At this age, some girls wear high-heeled shoes, many have varnished nails, and the clothes they wear to school are most likely suitable for evening or holiday wear. And in many people’s clothes there is not a classic version of a suit, but complete bad taste. Many people follow fashion with their eyes closed. Studying is not on my mind! Although at this time in technology lessons we are taught about fashion and health. What can blind imitation of fashion lead to? At our school, girls prefer to wear jeans and various turtlenecks, blouses - sporty styles are available.
Teenagers, 9-11th graders, already have a different attitude towards fashion. This group is characterized by a not too active attitude towards fashion, the trends of which are mastered gradually, from older to younger. Many have formed a style, found their color scheme. The rules for using clothes, where to go and what to wear, have already been formed. Fashion plays a big role in the life of a schoolchild; it develops taste and artistic flair. In high school, a reasonable, conscious attitude towards oneself comes. Heavy gold rings with massive stones in the prickly “paws” are ridiculous and inappropriate for schoolchildren. Much more appropriate for girls are cheerful multi-colored plastic or ceramic beads, bracelets, and pendants on laces.
By trial and error, schoolchildren by the 11th grade find themselves in hairstyles, clothes, shoes, jewelry, taking into account their individual characteristics. They already understand what fashion is and how it should be handled. How does one relate to fashion? It should be remembered that any standard is created by an artist. This is his view, he does not develop a model for a specific person. Taste is what will help a schoolchild dress in fashion and at the same time taking into account his individual characteristics And environment. And this conclusion can be applied to clothes, shoes, etc.
^ Fashion - what is it?
Fashion is the temporary presence of something that bears a social imprint.
Fashion is constant only in one thing - novelty.
Fashion is the only undefeated ruler; it is replaced before it gets old and boring.
Fashion is like a bright butterfly, it lives one day at a time. She appeared, turned her head, and she’s gone. Once upon a time, it was believed that the average lifespan of fashion was 30 years, then 7-10, but now this period has been reduced.
The amplitude of fashion spread ranges from 3 to 12 years
Fashion is born and changes along with society and its way of life
Following fashion is ridiculous, but not following fashion is ridiculous. People cannot arbitrarily destroy or create an aesthetic law. Moreover, in their activities they have to reckon with its existence. These properties of the law are also manifested in fashion. Not recognizing and not obeying fashion means going against the obvious trends in the development of aesthetic consciousness of society
^ Aesthetic evaluation the same costume changes over time. “Removed” in time by a considerable distance, the costume again acquires the highest aesthetic appreciation, as if standing the test of time. Interesting in this sense is Laver’s suit rating scale, published in 1945 in the magazine “Taste and Fashion”, (London, UK): “Changing our assessment of the same suit:
10 years before fashion appeared on him - shameless;
For 5 years - indecent;
For a year - brave;
Fashion – beautiful, charming, wonderful;
A year after fashion - careless;
10 years after fashion - ugly;
After 20 years - funny;
After 30 years – funny;
After 50 years – curious;
After 70 years attractive;
In 100 years - romantic;
After 150 years of beautiful
The fashion of young people surprises, causes bewilderment, amazes the imagination and puzzles from the first day of its birth. Many people associate the word fashion with changes in appearance, however, recently there has been a fashion for almost everything: styles in music, mobile phones, and what is especially gratifying, fashion for a healthy lifestyle. But what dominates this list is, naturally, clothing fashion. This will be discussed further. In our case, we are talking about such a concept as a classic. Just remember, no matter what style is relevant at the moment, classic White shirt, a black suit and elegant shoes remain the standard of beauty. Fashion historian A. Vasiliev says: “A well-mannered person does not dress too fashionably.”
The concept of “fashion” is associated with the idea of beauty, which humanity has strived for for many centuries. This desire is inherent in people of all age, national, and professional groups. But the idea of beauty is not the same not only among different peoples and times, but also among different generations of the same time. In this regard, there is no absolute standard of beauty for schoolchildren
Nature bestows especially in adolescence, only to him inherent features. These innate properties can be improved through your work: improving body shape, making your gait light, your movements graceful, your appearance elegant. This is work for the benefit of health. Imitating your “beauty star” without taking into account natural data often turns into the opposite, both in appearance and its effect on health. In this aspect, beauty fashion has a negative meaning.
The word “Fashion” in relation to various aspects of human life: clothing, makeup, behavior in society, in construction, the interior of various premises, car brands, etc. The original meaning of fashion referred to clothing. We put on a suit and it becomes part of us. People around us perceive us along with our clothes. As French Couturier Pierre Cardin defined: “Fashion is a way of expression, it is a reflection of the individual qualities of an individual in social and moral aspects.” By the cut and tailoring of a suit, one can determine the time (era or certain historical centuries), a person’s profession, social status, character traits (modesty, virtue, etc.)
Experts attribute the birth of fashion to the 14th century. Paris is considered to be her birthplace. The emergence and promotion of fashion in the world is associated with the development of large textile production. Fashion came to Russia only in the 17th century. Traditional folk clothing was comfortable, beautiful, stable, and not subject to fashion. In Peter's times, fashion corresponded to the spirit of the times - the time of transformation. And then fashion became a catalyst for the development of light industry. The French sociologist of the last century, Gabriel Tarde, wrote: “Fashion, although fleeting, manages to record moments of social progress.” Continuing this thought, the Italian writer A. Moravia considers fashion from the point of view of aesthetics: “Fashion is a story about which one cannot debate, argue, which cannot be denied. And indeed, peoples who have no history do without clothes.
Nowadays, fashion keeps pace with scientific and technological progress. The new attracts attention, is tested by life and is adjusted over time.
^ The main commandment of fashion:
“To dress beautifully, it’s not enough to know the style, silhouette, details. You need to learn to choose from numerous offers exactly what suits your face and figure, what will be comfortable and cozy, which will allow you to express your individuality.”
For schoolchildren, fashion plays an important role. We don’t want to catch up with it, but follow it every day. To our great shame, we do not know how to do it correctly. Although we are taught about clothing culture at school.
Dress culture involves two sides:
The first is the ability to correctly select items from your wardrobe;
The second thing is to feel comfortable in these clothes; the clothes should be appropriate, according to age, season, and purpose. Unfortunately, many ridiculously follow fashion (they want to be like someone else in some way) or the desire to be one and only of their kind.
We want to walk in heels, without hats, paint our nails, go to school in smart clothes, not business clothes.
What is the role of fashion in the life of a schoolchild? The role is great. We, high school students, for the most part must demonstrate fashion that is suitable for our lifestyle. Using the latest fashion, see the good in clothes, shoes, hairstyle, cosmetics, jewelry. Taking into account your knowledge, get a decent education, build a family, a home, buy a car and relax in the best places, taking into account your desire. Every normal person dreams of this.
The point of my work is to prove that in order to keep up with fashion, look original and not be like anyone else, it is not at all necessary to fill your closets with a variety of clothes. School clothes should be close to the classic version, but otherwise, plus a little imagination is not detrimental to your health. Despite strict rules, students always find ways to get around them and show off their individuality by showing off teenage fashion and then take something back into adulthood.
Rules for a young fashionista:
Don't be a slob, take care of your clothes and shoes yourself.
Plan in advance what you will wear tomorrow.
To always be well dressed, you need to have taste.
Clothing must be suitable for its purpose.
What is unhealthy cannot be beautiful.
Clothing must be age appropriate.
All items included in the costume should fit well together.
The main thing is not what you wear, but how you wear it.
Posture, gait, like a model, and self-confidence. All admiring glances are yours.
^ They greet you by their clothes.
To be always fashionable, you must have taste;
Clothing must be suitable for its purpose;
What is unhealthy cannot be fashionable;
Clothing should be appropriate for your age;
Clothing must match individual characteristics;
All items and parts of the costume must be combined with each other.
I would like to hope that the information collected in the project will be useful to schoolchildren, everyone will find themselves and apply them to their individuality:
There are fewer of them, ready to unconditionally accept everything new, and thereby stand out from the crowd. They are called fashion lovers. Schoolchildren should know that it is created for ideal figures;
People who are more cautious about accepting new things are consumers of moderate fashion. They copy what they see, wear what is already accepted by someone;
People who refract any fashion through their image. Thanks to this, they are always dressed tastefully and modernly.
A student should be able to distinguish glamor from vulgarity
Do not get carried away with tight clothes; wide ones look more elegant than fitted ones;
Do not mix more than three colors - the fourth will be redundant;
Trust your mirror - it is better to remove something than to add something.
And you will be the trendsetter!
^III. Conclusion
1. The main conclusion based on the results of the work
Studying current issues of youth is not only interesting, but also useful for everyone. The information that the work includes is multifaceted and meaningful. Due to the incorrect tastes of the majority of children in our school, recommendations are given on fashion trends in student clothing.
Directions for further research
I hope that students will continue to consider the topic of the role of fashion in the life of a schoolchild when they become adults.
Suggestions for possible practical use of research results
You can see her materials at the large stand “Oh, this fashion!” There is also a hidden practical significance, which is expressed in teenagers’ awareness of the full importance of their health and the vision in fashion of not only positive, but also negative aspects; in the ability to balance fashion and health on the brink of reason.
Questionnaire “Oh, this fashion.”
1.Year of birth
2. How do you find out about new fashion items? (magazines, movies, television, messages from friends, Internet)
3.Do you follow fashion?
4. Do you like fashionable clothes?
5.What do you think is fashion today?
6. Is it necessary to follow fashion nowadays? If yes, then why? “If you meet someone by their clothes, they will see you off by their intelligence,” says an old proverb. Is it applicable today?
7. Have you ever experienced a feeling of shame or embarrassment about your appearance? If yes, then why?
8. Do you consult with elders when choosing clothes?
9. What kind of clothing do you consider acceptable for yourself?
10. Do you think that only expensive clothes can be fashionable?
11. Fashion designers claim that three or four fashionable touches are enough (long scarf, neckerchief, fashionable haircut, length or width of trousers, skirts, etc.) to make your look completely modern?
12. Do you attach importance to how your friends and classmates dress?
13.What do jeans mean to you: 1) what everyone wears, 2) what is convenient for studying.
14.Will you go to the theater, disco, or museum in jeans or shorts?
15. Does festive clothing help create a special, festive mood?
16. Do you feel a sense of superiority and satisfaction if it seems to you that you are dressed better than others?
Used Books
Chernyakova G.M. About fashion, clothing culture and education of good taste. Moscow, Higher School, 2007.
3. Tyra Yu. “Everything for young gentlemen”, Kiev, “Book-Service”, 1997.
4. Gaevaya V.V. “For a healthy lifestyle”, Volgograd, Teacher 2009
5. Komsomolskaya Pravda, November 8-15, 2007, November 12-19, 2009, November 1, 2002, August 10, 2004, February 13, 2009. annotation
In the project “The Role of Fashion in the Life of a Schoolchild” you will find the history of children’s fashion, learn what fashion is, read aphorisms about fashion, see the attitude of different schoolchildren to fashion age groups, get acquainted with the main commandment of fashion, the rules that a schoolchild must follow regarding fashion.
Aesthetic education in technology lessons
The comprehensive approach to education carried out by the school creates conditions for the most complete identification of the interests, inclinations, and abilities of schoolchildren. Incorporation into socio-cultural, moral, aesthetic, environmental and professional values is necessary for self-realization in the labor sphere and other areas of life. Aesthetic education plays a major role in training and education.
1. Aesthetic education is understood as the purposeful formation in a person of his aesthetic attitude to reality.
^ The goal of aesthetic education in technology lessons is the formation of a comprehensively developed personality, capable of perceiving, feeling and appreciating beauty in the process of work.
The main idea of aesthetic education is understood as the education of the foundations of aesthetic culture and the development of artistic abilities; providing every child with opportunities to express themselves in artistic activities, work, enrichment with aesthetic knowledge, and improvement of skills.
The lessons set the tasks of aesthetic education:
1. creation of a certain stock of elementary aesthetic knowledge and impressions, without which inclination, craving, and interest in aesthetically significant objects and phenomena cannot arise;
2. formation, on the basis of acquired knowledge and development of artistic and aesthetic perception abilities, of such social and psychological qualities of a person that provide the opportunity to emotionally experience and evaluate aesthetically significant objects and phenomena, to enjoy them.
These tasks give a positive result only if they are closely interconnected in the implementation process. To implement the tasks of aesthetic education of school-age children, certain conditions are necessary, in particular a developmental environment.
It has an impact on the child that in its strength and significance can hardly be compared with others. If the environment is aesthetic, beautiful, if a child sees beautiful relationships between people, hears beautiful speech, such a child from an early age will accept the aesthetic environment as the norm, and everything that differs from this norm will cause him rejection. Details of the aesthetics of everyday life: furnishings, the beauty of people between people, a person’s appearance.
In recent years, attention has increased to the problems of the theory and practice of aesthetic education as the most important means of developing an attitude towards reality, a means of moral and mental education, i.e. as a means of forming a comprehensively developed, spiritually rich personality. The system of aesthetic education is designed to teach you to see the beauty around you, in the surrounding reality.
Making beautiful and necessary objects with your own hands arouses increased interest in work and brings satisfaction with the results of work, arouses the desire for subsequent activities.
2. Aesthetic education in technology lessons is based on the development of interest and creative capabilities of schoolchildren. Technology lessons are different from other lessons. It is closer to life, everything that you have studied can theoretically be made your own, but any business requires students to know aesthetic laws. I select all educational products taking into account a number of psychological characteristics of the students, since only in this case does interest arise and motivation for further educational and cognitive activities arises. I select all objects of labor in such a way that they are as informative as possible from the point of view of polytechnic education, have aesthetic appeal, and give an idea of traditional artistic types of material processing. For many years, students have been taking part in competitions, olympiads, exhibitions, and winning prizes. I, as a technology teacher, also take part in teachers’ CPD.
Aesthetic education in the process of students mastering relevant technologies will be carried out more successfully when using the capabilities of modern computer software. The computer has entered the life of the lesson. Students prepare presentations and projects. The teacher advises. Aesthetic education influences the development of artistic taste, spatial imagination, abstract thinking, and eye. In the process of creative work, it allows you to solve problems of personality development, the formation of a creative attitude to work and the problem of choosing a profession. Assessing the role of aesthetic education in the development of adolescents, in general, it can be argued that it contributes to the formation of their creative potential, having a diverse positive impact on the development of various properties included in the creative complex of the individual. The works highlight the aesthetic principle - the necessity of the item, color combination, neatness, high-quality execution of the product. Project activity in technology lessons is the main factor in the formation of aesthetic culture. Currently, project activity is an independent type of activity, which can be mastered not spontaneously at the everyday level, but purposefully, in the process of organized learning. It is necessary to teach the student to feel beauty at all stages of project activity. In my work with students, I use Internet resources, books, and magazines.
3. As a teacher, I am especially interested in the problem of artistic and aesthetic education of students. It is aimed at developing in children the ability to feel and understand beauty in nature, art, and developing artistic taste. From this point of view, I consider the relationship between the educational fields of “Technology” and “Art” to be fruitful. I consider the objects of labor performed in technology lessons as a means of artistic and aesthetic education of schoolchildren. In most cases, these products have practical applications. Knowledge of the “laws of beauty” allows you to create things that have your own style and artistic image. Making useful and beautiful household items and clothing with your own hands makes technology lessons interesting and useful in the eyes of students.
4. Lessons have been developed in the mode of effective pedagogical technology of the aesthetic direction; they take into account the tasks of the aesthetic direction. One of the main conditions for the full aesthetic development of children is the formation of their artistic abilities.
Aesthetic education in technology lessons is carried out in different forms depending on the principle of guiding their activities, the method of uniting schoolchildren, and the type of activity.
Sometimes it is clear from appearance at what level the student is familiar with the laws of aesthetics. Without damaging your peace of mind, we gradually find the path to beauty. I suggest topics for conversation. “What color suits me?”, “Breakfast, lunch, dinner”, “My home is my fortress”, “Beauty is always in fashion”, “Holiday in your home”.
A significant role in the aesthetic education of schoolchildren is played by their involvement in participation in school, district, regional, and regional competitions. It is at competitions that all the harmony of students’ work is visible
5. The dynamics of the results of using educational technology in practice has a positive growth. Over the years, my students have participated in various competitions and Olympiads and have achieved:
Conclusions: When conducting technology lessons, the teacher has the opportunity to systematically and consistently form in students an aesthetic attitude towards work, which, first of all, is manifested in the high-quality performance of tasks and work culture.
This work has prospects for development, namely the creation of educational and methodological complexes for various types of handicrafts, containing theoretical material, objects of project activity and diagnostic methods.
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