Speech, thinking and visual activity: what is the relationship?

Speech development in children. Development of thinking in children. Speech, thinking and visual activity. Some common features in the development of speech and drawing. The influence of visual activity on speech and thinking. Drawing as an indicator of nervousness mental development child. Psychological tests. Determining a child's readiness for school.

Some common features in the development of speech and drawing.

Watching young children, one cannot help but notice how often, while telling one fairy tale, they jump to another or, having started one poem, unexpectedly switch to another. Apparently, the reason for this is some random associations.

Roma P. 3 years 2 months recites the poem:

White cat,
The tail is gray,
That's how, that's how
Little gray goat!

As you can see, Roma started talking about the cat, and ended up talking about the goat.

Lenya V. told a fairy tale about a pockmarked hen for 3 years and 3 months. When he reached the words “grandfather is crying, woman is crying,” he jumped to another fairy tale: “How can I not cry? The fox climbed into my house and does not leave!”

We said that random associations lead to such jumps. But are they really that random? Maybe there is some kind of pattern in this phenomenon?

In Roma's case - this is quite obvious - the reason for the jump was the word "gray", it was included in both verses, i.e., in two memorized verbal stereotypes. With the verse about the goat, this word probably turned out to be more closely associated, which is why there was a slippage into a more established stereotype. For Leni, the reason for the jump was the word “cries,” which is also included in both fairy tales.

This means that such jumps are not at all accidental, they are explained by the fact that this or that word is included in two stereotypes, and if one of them is stronger, then a slippage occurs on it. It is interesting to note that the children themselves do not notice that they continue to talk about something completely different. The phenomenon of slipping into another stereotype is expressed extremely clearly in the drawings of young children. E.I. Ignatiev gives a very good example; the child began to draw a cat, but after making a few strokes, he said that it was a tower, then added a series of rectangles (windows) and declared: “Nice house!”

In our observations, similar transformations of depicted objects during drawing occurred quite often in children. Here Katya N., 3 years 4 months old, began to draw her mother, but she made her hair too voluminous and said: “It looks like a bow. I’m the one who went for a walk!” However, further, crossing out fatter and fatter legs, she finally remarked with satisfaction: “What a big bridge!”

As in speech reactions, such jumps in drawing are explained by the fact that some element of the drawing causes an association with another system, another visual image, and the thought baby is coming already in a different direction.

A.G. Ivanov-Smolensky, in experiments on studying conditioned reflexes in children, also observed that if in two systems of conditioned stimuli there is some common element (which is included in both systems), then this creates a kind of “drainage” for the transition of excitation from one system to another. Ivanov-Smolensky further showed that the phenomenon of “drainage of excitation” also occurs in older children, but in them it no longer manifests itself in slipping from one stereotype to another, but remains in a hidden form.

We, adults, can observe this phenomenon ourselves - a certain sensation, a heard word, etc. evokes in us not one, but several associations. However, we continue to develop a certain thought, inhibiting secondary ones.

Thus, the frequent slippages of thought observed in children have a completely understandable physiological basis.

The influence of visual activity on speech and thinking.

Many scientists have noted that drawings have a strong stimulating effect on the development of children’s speech and mental activity. The Russian teacher K. D. Ushinsky wrote at one time that a picture is a powerful means of “untying” a child’s tongue: he asks questions about what he sees in the picture and shares his impressions.

Particularly great importance is attached to the connection between drawing and thinking, since drawing is, in essence, also a story, but not with words, but with visual means. This can be seen very clearly in children aged about three years: not only the picture shown, but also their own drawing (no matter how primitive it may be from our adult point of view) stimulates the mental activity of children.

Rice. 1. Wolf on a rope. Julia E. 2 years 7 months.

Yulia E., 2 years 7 months old, drew an irregular oval and said: “Wolf” (Fig. 1,1), then she drew four uneven lines arranged in a bunch, separate from the “torso” (Fig. 1,2), these are the legs; after some thought, she added a line crossing the wolf (Fig. 1.3) and explained: “Well, this is a rope so that it doesn’t run away!”

At the same age, Julia told something like a fairy tale, and the reason was her own drawing. At first, the girl aimlessly moved a pencil along the paper (Fig. 2.1) and suddenly began to tell: “Once upon a time there was a wolf”... She drew a squiggle next to it and continued in the same narrative tone. “He met his grandmother” (Fig. 2, 2). “And now the wolf wants to eat grandma!”

Rice. 2. Wolf and grandmother. Julia E. 2 years and 7 months.

Lyusya R., 2 years 8 months old, drew a girl and said: “A girl... A girl is...” (Fig. 3, 1), added with a red pencil something like a horn on her head (Fig. 3, 2) and exclaimed : "Oh! It's Little Red Riding Hood!" - and immediately switched to the narrative tone with which kids tell fairy tales: “Here Red is coming Little Red Riding Hood, and suddenly... a wolf..." Lucy diligently draws a wolf (Fig. 3, 3) and at the same time says: "... and suddenly a wolf - oh Little Red Riding Hood! No, he’s my grandmother!”

Rice. 3. Little Red Riding Hood. Lyusya R. 2 years 8 months.

Vitya B., 3 years 3 months old, drew an irregular large oval (Fig. 4): “This is a car.” I drew a lot of circles around the oval: “These are wheels. The car is moving.” Some circles turned out to be more correct, but two were crossed out (Fig. 4.1), and Vitya was upset: “Eh!” - but immediately smiled: “These are the steering wheels! That’s how I’ll start steering the steering wheels, as soon as I go!”

Rice. 4. A car with steering wheels. Vitya B. 3 years 3 months.

The stimulating effect of drawing on the emergence of new associations, that is, on the course of mental activity, is clearly visible in children and at an older age.

Marisha K., at 3 years 7 months, drew a girl (Fig. 5.1), laughed: “It’s me, here’s my blue dress!” - and began to tell: “Once upon a time there was Marishenka! She went for a walk alone. She forgot a little that she shouldn’t leave alone. And suddenly...” Then she began to hastily draw the second figure (Fig. 5.2) with a broom in her hand (Fig. 5.3). "...Towards Baba Yaga! She is with such hands... scary! And she says: “I will eat you!” - “And Marisha ran away to her grandmother!”

Rice. 5. Marishenka and Baba Yaga. Marisha K. 3 years and 7 months.

This important fact of the influence of visual activity on speech and thinking is often not taken into account not only by parents, but also by employees of child care institutions. We constantly have to observe that during drawing lessons in kindergarten The teacher stops the children talking and does not allow them to “be distracted from their work by chattering.” In fact, drawing and speech activity mutually stimulate each other, and the verbal description of what the child depicts should even be encouraged.

The baby’s speech (and mental) activity is also activated by simply looking at ready-made pictures. Children willingly compose entire stories based on them, and the development of the plot is determined precisely by the drawing. For example, Antosha Shch. has been drawing little and reluctantly for 5 years, but with pleasure he composes fairy tales based on pictures that he finds in magazines. Looking at a picture of a bird's nest on a tree, he began to tell: “One day a boy went into the forest to pick mushrooms. He walked for a long time and then he saw birds in a nest. He liked it very much, he wanted to live in such a nest. He asked: “Birds, birds , how can I make a nest like this?" The birds said, “Made of bark, straw, and line the inside with cotton wool." He did so, the nest turned out to be very good, he began to live there, and the birds brought him food. And his parents were waiting - "They were waiting at home, but the boy was still not there. They went into the forest and found him, were happy and took him home."

Why does drawing have such a stimulating effect on a child’s brain activity?

First of all, we must not forget that the thinking of children in the first years of life is primarily figurative thinking, and drawing, providing a visual basis, significantly facilitates the process of “linking” associations. In addition, the clarity and imagery, and often the colorfulness of the drawing, influence emotional sphere child: the appearance of an image under a pencil or brush gives him pleasure, and any positive emotion, as is known, increases the tone of the cerebral cortex, which facilitates the flow of associative processes.

Drawing as an indicator of a child’s neuropsychic development.

For a long time now, psychologists, teachers and doctors have drawn attention to the fact that children’s drawings reflect many features of their mental development, character, their attitude towards the people, events depicted, etc. In many countries, a child’s drawings are used to get an idea of the extent to which his mental development corresponds to age norms, whether there are any deviations in the psyche.

In American child psychology there are a number of systematic studies in this direction. Since the 1920s, the child's developmental characteristics have been studied there using tests such as the image of a person. Florence Goodenough - famous child psychologist- determined the level of intellectual development of children in terms of age and compared the results obtained with a sample image of a person. Attention was paid not to the technical side of the drawings, but to the correctness of the “body diagram,” i.e., to how the child arranges the parts of the body relative to each other - after all, this is what reflects the correctness of the baby’s ideas.

In detailed research by Charles Gaitskell, it is shown that there is a direct relationship between the level of mental development of a child and the nature of his visual activity. Gaitskell collected a very large amount of observational material concerning healthy, properly developing children and children who have delayed intellectual development. He established that the visual activity of mentally retarded children is always delayed and the degree of this delay corresponds extremely accurately to the degree of defect in mental development.

William Frankenburg, using data from other authors and his own, gives the following sequence of stages in the formation of children’s visual activity (see table).

At about three years of age, a child begins to draw a person consisting of three parts (usually a head, eyes and legs - paired parts in the drawing are considered one part).

At 4-4.5 years old, the child draws a person from six parts. How demonstrative the results of these tests are, how much information they give us about the child, can be seen from the examples given here.

Rice. 6. Copying a circle. A - sample; B - copy made by Kostya M. 2 years 3 months (properly developing child); B - copy made by Vasya Ch. 4 years 5 months (mentally retarded child).

Rice. 7. Copying the cross. The designations are the same as in Fig. 6.

Rice. 8. Copying a square. The designations are the same as in Fig. 6.

In Fig. 6, 7 and 8, samples are reproduced with copying images of a circle, cross, square healthy, correctly developing child and a mentally retarded child (who is even older in age).

Kostya M. gives drawings on a slightly smaller scale, the lines are uneven, sometimes broken, but still the boy quite accurately conveys the outline of the figure he is copying, you can recognize a circle, a cross, and a square.

As for the second child, Vasya Ch., he draws lines that do not form any outline; he is not able to even approximately reproduce the figure that was given to him as a model.

No less interesting is the sample with the image of a person. In Fig. 9 Lida V. 4 years 3 months, a girl is depicted approximately as children of this age do: there is a head (with eyes, a mouth and even a bow!), neck, torso, arms and legs; the spatial arrangement of all parts of the body is completely correct. This means that Lida already has a fairly clear idea of ​​the body diagram, of how the parts of the body are located relative to each other.

Rice. 9. It's me! Lida V. 4 years 3 months (properly developing child).

In Fig. 10 we also see an image of a girl, but it was made by a mentally retarded child, Raya N., 6 years 1 month. The legs extend away from the head, the face is given in the front, the nose is placed to the side; Next to it is a belly with a navel; three arms protrude from the belly. Raya's idea of ​​the body diagram is disturbed, but she herself does not notice it; she could not answer the question why the head and body were drawn separately, just as she could not tell where the person’s head, stomach, and leg were.

Rice. 10. Raya N. 6 years 1 month (mentally retarded child).

A large amount of observational material was collected by Hungarian pediatric doctors G. Kisch and M. Liebermann. Among others, they used samples with images of a person and a tree. As in the studies of American psychologists, attention was paid to the correctness of the diagram and the amount of detail.

The German psychologist W. Kern developed tests of the so-called “school maturity” using an image of a person, copying ten dots located at equal distances vertically and horizontally from one another, and copying a written phrase. Kern tests were improved by the Czech psychologist I. Erazek and became widespread.

Children who are well developed and ready for school should draw a human figure, correctly conveying the outline of the body, and depict many details (eyes, ears, nose, hair, neck, fingers, details of clothing); These children quite accurately copy the location of dots and the configuration of letters, put a dot at the end of a phrase, thus showing a high ability to imitate.

Each sample is scored from 1 to 5 points (1 is the highest score, 5 is the lowest). The level of “maturity” is determined by the total number of points (for completing all three tasks). The “mature” category includes those children who received a total of no more than 5 points, “medium-mature” are children who completed tasks for 6-9 points, and “immature” - children who completed tasks for 10 or more points. The assessment is carried out according to the criteria given by the authors (Fig. 11 and 12).

Rice. 11. Kern-Erazek tests for determining “school maturity” based on the image of a human figure. The numbers are evaluation points.

First task: 1 point - the body diagram is correct and the necessary details are given - head, eyes, ears, hair, torso (with clothes), hands with five fingers, legs; 2 points - individual details are missing - hair, fingers; 3 points - no neck, ears, hair, clothes, fingers; 4 points - primitive image; 5 points - cephalopod.

Rice. 12. Kern-Erazek tests to determine “school maturity” based on the characteristics of copying letters and rows of dots. The numbers are points.

Second task: 1 point - an exact copy of the sample, the letters correspond in size or differ from the sample by no more than twice, there is a connection between the letters, tilted to the right by no more than 30°; 2 points - the image of the letters can be read, but there is no uniform direction; 3 points - at least four letters are depicted correctly; 4 points - a set of strokes; 5 points - chaotic image.

Third task: 1 point - complete similarity in the location of the points (or a slight deviation of individual points or a “column”) and a change in scale of no more than twice; 2 points - the number of points corresponds to the sample, the deviation of three points in the vertical or horizontal directions is no more than half the distance between the points; 3 points - the general similarity is preserved, but the number of dots does not match (the number of dots should not exceed 20 or be less than 7), the pattern can be rotated by 180°; 4 points - there is no similarity, the size and number of dots do not correspond to the sample; 5 points - chaotic image.

In the studies of the famous hygienist M.V. Antropova and her colleagues, the Kern-Erazek tests were used for many years in combination with other tests; their great reliability has been shown.

It must be emphasized that in order to draw one conclusion or another, one should see several drawings, since the nature of visual activity changes under the influence of fatigue, one or another emotional mood of children, etc.

In a children's group setting, carrying out the tests described does not present any difficulty and makes it possible to determine the level of neuropsychic development of children with a high degree of confidence.

Consultation

"Artistic creativity"

Speech is the most important mental process that provides any child with interaction with the social world, the opportunity to comprehend himself and his actions, and express his experiences to other people.

Speech is formed in activity. Along with play activities Isoactivity is of great importance in the development of speech.Visual arts are one of the most interesting activities for children. preschool age. Visual activity acts as a specific means of cognition of activity, and therefore is of great importance for the mental development of children.

In its turnThe mental education of a child is closely related to the development of speech.

In children with mental retardation, not only all sections of the speech functional system suffer, but also many mental non-speech functions necessary for mastering drawing skills.

The importance of artistic activities for correcting the development of a preschooler with mental retardation is great and multifaceted. The sensory-perceptual capabilities of artistic activity allow it to be used in correctional and developmental work. The level of speech development of children directly depends on the formation of fine movements of the fingers. It has been proven that finger movements stimulate the activity of the central nervous system and accelerate the development of the child’s speech.

IN educational field"Artistic creativity" children are allowedintroduce new words, teach to understand, distinguish and, finally, use words in active speech.

child in productive activity relies simultaneously on several analyzers (vision, hearing, tactile perception), which also has a positive effect on speech development.

Visual activity has great cognitive, educational and correctional significance due to its clarity. Children absorb speech material faster and more fully if natural objects (vegetables, fruits, flowers, toys) are used as visual support. A variety of visual material, which changes periodically, helps clarify the understanding of the names of objects, actions, and signs.

Productive activity, which includes artistic activity, is beneficial for the development of speech, primarily because the child himself directly acts with objects. The enormous influence of this factor on the development of a child’s speech was noted by M.M. Koltsovaya. In the experiments she described, children early age They begin to react almost twice as quickly to a word denoting an object if they have the ability to manipulate this object.

The first step in developing understanding of speech in visual activitiesis the assimilation of the nominative function of a word : everything that is around the child, everything he does and how he does it, gets names. In order for a word-name to become a word-concept, a large number of different conditional connections must be developed for it, including motor ones, which means it must be able to manipulate and act with the object.

In art classes, a child can become familiar with the names of objects, actions that he performs with objects, distinguish and use words that mean external signs objects and signs of action.Mastering the names of shapes, colors, their shades, spatial designations; statements in the process of observing objects and phenomena when examining objects, as well as when examining illustrations and reproductions of artists’ paintings have a positive effect on the expansion of vocabulary and the formation of coherent speech. Thus, didactic games “What’s in your hand”, “Pick up an object”, “Find the same” before drawing vegetables and fruits help teach a child to distinguish objects by shape and color; and with the help of the operation of comparing objects of the same color and objects of different colors, children develop the skill of agreeing adjectives with nouns different kinds: “I have a green, oval cucumber. My cabbage is green and round.”

An art activity class with children is a special situation that stimulates not only the development of active and passive vocabulary, but also the development of the communicative function of speech.Various types of productive activities are beneficial for speech development becausewhen implemented, you can easily create problematic situations , contributing to the emergence of speech activity. Problem situations shape the communicative orientation of speech. So, if one of the children specifically “forgets” to put a piece of paper, a brush or pencils, the child is forced to ask for what is missing, that is, to show verbal initiative.

It is easier to provide a connection between a word and an object than a connection between a word and an action: you can show the object itself, a toy or a dummy.

Familiarity with action words in visual activities occurs naturally, since the child himself performs a variety of actions . For example: I took a pencil, pressed a cloth, draw a line, draw a ball. When performing repeating movements in drawing (strokes, strokes, lines), children like to accompany them with speech in time with hand movements: top - top - (“footprints”), drip - drip - (“It’s raining”): they enliven their completed work

With special training, children learn well a certain chain of sequential actions; characteristic of visual arts. This contributes to the development of speech - the correct understanding and implementation of instructions such as: “Draw a path, a ball.”It is in these classes that children learn well the sequence of actions and the cause-and-effect relationship various actions and phenomena : “The brush is dirty. Washing my dirty brush. The brush is now clean.” Besides,the child learns to listen attentively a short phrase adult, understand the meaning of gradually more complex statements, new words, clarify their lexical, phonetic, grammatical shades.

In visual activities, the development of perception and awareness of speech by children occurs much faster, since speech acquires a truly practical orientation and is of great importance for the implementation of one or another proposed activity. When working with non-speaking children (1st level of speech underdevelopment), you can use the technique of “joint drawing”, which not only develops the child’s skills in drawing simple objects (a house, a path, rain in the form of strokes), but also helps to “speech” the drawing in the form phrases that form a story: “Here is the house. This is oak. This is com. There will be a woman." An alalik child can pronounce all the words in such a story without phonetic and grammatical errors.

When developing children's visual creativity in the context of coherent speech, the use of artistic words is of great importance. The artistic word enhances children's feelings, speech and mental activity. You can also turn to a practice-tested method of work, when a quatrain read by the teacher awakens children to reproduce the impressions of the poem in a drawing. Reading poems, nursery rhymes, and songs during drawing classes increases the emotional mood of children and contributes to the formation of a figurative idea of ​​what is being depicted. To do this, it is necessary to use melodic, sonorous, beautifully rhythmic, and clearly rhymed works. Fineness and expressiveness in poetry are closely related. Expressiveness in a drawing is created with the help of sonorous words that convey the character of the image of a toy, tree, animal, etc. Expressive means of language increase the emotional mood of the little draftsman. Before children pick up brushes and paints, you can read lines of a poem on the topic of the upcoming lesson against a musical background. Art activities dedicated to seasonal depictions of nature can begin with a selection of words that highlight the charm of this time of year. The appropriate technique here is the game “Word on the Palm”: - “I open my palm, I accept your words.” With the help of this technique, children with developmental problems enrich their descriptive vocabulary. So, during the passage lexical topic“Autumn” in an art class, before drawing a tree, the children “folded” it on their palm “ beautiful words about autumn leaves": red, yellow, crimson, gold, light, airy, patterned, multi-colored (words are selected depending on age and level speech development children).

In art classes, it is advisable to use various techniques for working with children: - examination of objects (rubber, plastic, glass, paper, wood, yellow, round, etc.); - commenting on actions (take a pencil to right hand, put a pencil in the upper left corner, etc.); - reproducing movements in the air (“drawing” objects on a given topic); - detailed questions to children about shape and color; - preliminary exercises for the development of fine motor skills.

Also in art classes, the “unfinished drawing” technique is used, which is indispensable for the development creativity both in drawing and in speech development. Unfinished figures can be turned into anything: a spaceship, mountains, plants, planet inhabitants, astronauts, etc.

Children with mental retardation have particular difficulties in composing descriptive stories based on a picture. To facilitate this process, in art classes it is recommended to “transform” triangles (large, small, red, orange, purple, yellow) into a variety of vegetables and fruits. Children develop a certain plan, they name: the shape, color, size of the fetus; All that remains is to name the taste, the option for use in food, and descriptive story composed. When drawing, the child says: “I drew a carrot. It’s big, orange, triangular.” And then he adds: “It tastes sweet. It grows in the garden in the ground. They put it in soup and salad.”

It is important to carry out interactions between speech and visual activities in the block joint activities teacher with children. In the process of performing practical actions and playing out the plot, a continuous conversation is held with the children. The game situation, as a form of work for the teacher in this block, stimulates their speech activity. The teacher denotes with a word everything that happens on paper. Such comments allow you to clarify the meaning of the words of the actions performed, already known to the child, as well as introduce new words and their meanings, enriching the passive vocabulary. It is necessary to support any attempt of the child to comment on his actions, to speak them out, and for individual children it is also necessary to specially create conditions in which he wants to use active speech. For example, in preparatory group Children in an art class draw a cat. At home, according to the plan given by the speech pathologist teacher, they came up with a story based on their drawing: - who did you draw; - What's his name; - what kind of muzzle, fur, paws, eyes, nose, ears he has; - what is his character? - what he likes to do; - why do you like him; - think of a riddle about him. The stories, like the drawings, turn out to be very different, children experience pleasure from their own works and stories, the work can be presented in the form of a handwritten book “Soft paws, and scratches in the paws..”

During joint drawing they give excellent results special techniques. One of them is the use of stickers with various images, which makes it easier and faster to create a story picture. This is especially important when working with autistic and hyperactive children who do not know how to wait. The subjects of the sticker pictures depend on the child’s wishes, the arsenal of stickers and the adult’s imagination:

“Fireworks”: stars, circles, triangles of various colors are glued onto a sheet of black or dark blue cardboard - this is how children quickly and effectively arrange “fireworks in the night sky” with their own hands;

“Apple tree”: with pencils they draw a tree - a trunk and a crown, and the children glue red, green and yellow apples;

“Store”: draw numerous shelves, a refrigerator, a salesperson stands behind the counter, then the shelves are filled with fruits and vegetables;

“Zoo”: various wild animals appear on a piece of paper. At the same time, the names of the animals are repeated and clarified, their habits and appearance are discussed. Predators are locked in a cage (for this you need to draw bars). You can “feed and water” the animals. To do this, children glue pictures of food or water.

Children love their drawings very much, are proud of them, recognize their “works of art”, which can be used to compose paintings. So, when going through the lexical topic “Winter”, children learn the poem “Snowman”, and during an arts and crafts lesson, children draw a snowman. The speech pathologist teacher helps each child, using the motives of the poem, to compose a story based on his own drawing. The result collaboration maybe it turned out to be a handwritten journal “We draw, write and memorize the poem.”

Visual activity is fertile ground for the implementation of activity, because a person learns 10% from what he hears, 50% from what he sees, 90% from what he does. Art activities allow you to develop the child’s creative abilities. Children gain knowledge, skills, abilities, learn to explore the world and understand themselves and their place in it.

Consultation

“Development of speech in educational activities "Artistic creativity"

Completed by: teacher-speech pathologist
Efanova S.A.

Olga Kolbasova
Development of children's speech in visual arts

Relevance

Preschool age is a period of active acquisition of spoken language by a child, the formation and development of all aspects of speech: phonetic, lexical, grammatical. Proficiency in native language preschool childhood is a necessary condition solving problems of mental, aesthetic and moral education children. The goal of the teacher’s work is to teach the child to think logically and coherently express his thoughts.

Visual activity is of great importance for the mental education of a child, which in turn is closely related to the development of speech.

In the process of productive activity, I provided all the conditions for the close connection of words with action.

I set myself a goal:

Systematization of work on speech development based on the material of visual activities, the development of fine motor skills in older preschoolers.

Tasks:

Form figurative speech, the ability to understand and select figurative expressions based on the material of visual activity;

Encourage attempts to express your point of view in response to the question posed;

Activate creative imagination, memory, logical thinking, through a system of game activities;

Develop skills verbal communication, speech hearing, visual attention and perception based on the material of visual activity;

Develop children’s speech perception and enrich their vocabulary;

Develop fine motor skills hand and hand-eye coordination.

Develop perseverance, accuracy, and the ability to work in a team and individually.

I carry out preliminary work: examining paintings; viewing presentations; observations; creation of exhibitions; experimentation; reading literature; fantasy games; didactic games; learning poetry; creating collages; finger and articulation gymnastics.

To achieve the assigned tasks, I use various teaching methods:

1. Visual techniques. In my classes I use natural objects, reproductions of paintings, samples and other visual aids.

During the examination and examination of objects, children name its name and its parts, identify their characteristics, determine the purpose of the object, thereby replenishing their vocabulary.

Vivid visual images of paintings are emotionally perceived by children and provide content for their speech. Children learn to see the main thing in pictures, accurately and vividly describe the image, express their thoughts in a logical sequence, and describe the content of the picture. When solving problems to develop memory, I use gaming techniques. By forming promising actions aimed at examining the subject, we develop children’s visual perception and vocabulary is also replenished. Example: “This is a rowan tree. It consists of a crown, trunk, roots, and fruits. Depending on the color and shape, rowan trees can be tall and low, straight and curved, thick and thin, etc.” At the next stage, the skills of using various types of simple sentences are developed.

I also use comparing work with a sample, commenting on actions, group exhibitions, looking at illustrations and analyzing works.

2. Verbal techniques. I encourage the child to express himself independently. This statement consists of one word, then takes the form of a simple sentence, then grows into an independently constructed sentence of 2-3 words, then of 3-4 words. Along with conjugate speech, I also use the reflected form of speech - the child repeating individual words and phrases after me. It is rational to use figurative comparisons, poetic texts, riddles, which help create characteristics of objects, contribute to the development of figurative perception in children and enrich speech expressive means.

When solving problems to develop memory, I use gaming techniques. For example, I use the game “Color Fairy Tale”. I read the story out loud and the children have to make a color picture. As soon as the child hears the name of a color in a fairy tale, he takes the corresponding pencil and paints the first square, then the next one. For example: “Grandfather came to the garden and began digging black soil. I decided to plant a yellow turnip.” The child must remember the entire fairy tale based on color clues.

When organizing communication in the form of dialogue, the child uses speech to accompany the actions being performed. Example: “What are you drawing now? - I am drawing a rowan tree trunk. - What did you draw? “I drew the crown and trunk of a rowan tree.” I also work on word formation of nouns with diminutive suffixes: -ik, -chik, -ok, ek-, etc. For example: The child names the object shown in the picture, or names the object that he wants to depict, then calls it affectionately (leaf - leaf, sleeve - sleeve, nose - sock, sparrow - sparrow, etc.).

As part of the implementation long-term plan Conducted classes using prefixed verbs. For example: I invite the children to draw a skier and his path from the mountain, up the mountain, near the house. Next I ask where the skier will go. Answer: “I drove down the mountain, drove along the road, drove around the house.” Before each lesson, I conduct a speech warm-up or articulatory gymnastics; it creates a positive microclimate, an atmosphere of closeness and trust in each other.

3. Practical techniques.

I use practical techniques when drawing an object from life, according to the idea, as well as non-traditional drawing techniques, plot drawings, and modeling. Great value in practical techniques I devote finger gymnastics, it is aimed at developing fine motor skills and speech development in children.

We will look at this technique in more detail in the methods that I use to accomplish my tasks.

1. The method of drawing from life and from imagination, I use not only visual material, but also pictures with its image. Drawing from life is very difficult for children, so when examining nature in detail with children, I guide the children and facilitate the drawing process with words and gestures. Drawing to present explanations, stories and my every word addressed to children was emotional, in order to evoke a positive response from them, to awaken aesthetic feelings. I develop in children a sense of composition when conveying space and accompany all work on drawings with a word or a question. For example: “What is depicted?”, “In what colors?” etc.

2. I use the plot drawing method.

Using my example, I show children how to convey their impressions of the surrounding reality, be able to diversify the content of their drawings, and also let the children independently determine the plot of the drawing on a given topic or according to design. For example: I give the children two words and invite them to make a short story. We sketch fragments of this story. Or I invite the children to sketch the heroes of two fairy tales and compose a story or fairy tale. You can give children the task of composing a fairy tale and drawing illustrations for it.

3. Decorative painting method enriches children's understanding of surrounding objects and promotes mental and speech activity, encourages children to see beauty and develop imagination. I teach how to depict geometric shapes and turn them into stylization - a rectangle and a polygon and various planar shapes of objects - vases, jugs, etc., I complicate the concept of symmetry and at the same time the child’s vocabulary is enriched. I introduce children to works of decorative art from various regions and peoples of our country.

4. Using the method unconventional techniques drawing is one of the ways to develop fine motor skills of the fingers, which in turn has a positive effect on the speech areas of the cerebral cortex.

This method allows me to develop the sensory sphere in children not only by studying the properties of depicted objects and performing appropriate actions, but also by working with various visual materials: corrugated paper, multi-colored threads and ropes, plasticine, cereals; sand, snow, etc.

5. Modeling (sculpture) and Artistic work: this method, like all of the above methods, allows for more in-depth development of fine motor skills, fine movements of the fingers develop, then articulation of syllables appears; all subsequent improvement of speech reactions is directly dependent on the degree of training in finger movements.

During a modeling lesson, I determine the proportions and emphasize the nature of the shape of the object, then I ask the children questions that direct their attention to identifying the characteristic features of the shape and solving it. During the conversation at the beginning of classes, the compositional solution is clarified. Analysis of work at the end of the lesson, which is organized in the form of a conversation, becomes of great importance for children. Children themselves ask each other questions about the shape and proportions of the objects depicted.

Modeling can be used not only in a group room, but also outdoors. Together with the children we sculpt from snow different figures animals. Then I invite them to remember literary works with a sculpted hero. For example: “Children, we sculpted a crocodile, remember in which literary works you heard about a crocodile”, answers: - “What does a crocodile eat at lunch?”, “Crocodile Gena and Cheburashka”, “Stolen Sun”, etc. So the children remember lines from the works associated with this hero and everything they know about this animal and play games.

6. To develop speech effectively use educational games according to activity.

I use these games in organizing the child’s independent productive activities, and also in individual work with kids.

Didactic game: “Magic Palette” - these are cards with arithmetic examples on composing additional colors from the main ones;

“Mosaics” - folding patterns, paintings;

“Genres of Painting” - games to consolidate knowledge of genres of painting; “Pick a Pattern” - arts and crafts games, children select elements of various paintings and lay out the pattern on the board; “Find a pair” - select the appropriate one color image according to a contour or silhouette image;

“Symmetrical figures” - introduction to symmetry;

“Fun Geometry” - fold cards with various objects and they must be connected to the corresponding card with the image of a geometric figure;

“Assemble a landscape” - teach children to see and convey the properties of spatial perspective in drawings, develop their eye, memory, and compositional skills; “Write a fairy tale” - children draw the scenery and use ready-made heroes to compose a fairy tale or draw the heroes themselves.

Effectiveness of experience

I consider the result of my work not only the process of speech development of a preschooler, but also the preservation of skills that help improve their capabilities in the future.

Thus, based on the work done, I saw that the children’s speech became richer, more colorful, and more emotional. Interest in artistic and productive activities has increased. The children gained self-confidence.

Formation of a creative personality is one of the important tasks pedagogical theory and practices at the present stage. Its solution should begin already in preschool childhood. The most effective means for this is the visual activity of children in a preschool institution.

The formation of creative abilities in children involves, along with their acquisition of fine arts and skills, the development of creative activity.

According to V. Stern, a child’s drawing is by no means an image of a specific perceived object, but an image of what he knows about it. Children's art, according to psychologists from the Leipzig School of Complex Experiences, is expressive in nature - the child depicts not what he sees, but what he feels. Therefore, a child’s drawing is subjective and often incomprehensible to an outsider.

For understanding children's drawing It is very important to examine not only the product, the result of the drawing, but also the process of creating the drawing itself. N.M. Rybnikov noted that for a child the product of visual activity plays minor role. The process of creating a drawing comes to the fore for him. Therefore, children draw with great enthusiasm. Small children depict little on paper, but at the same time they speak and gesture. Only towards the end of preschool age does the child begin to pay attention to drawing as a product of visual activity.

N.P. Sakkulina believes that by the age of 4-5, two types of draftsmen are distinguished: those who prefer to draw individual objects (they primarily develop the ability to depict) and those who are inclined to develop a plot, a narrative (for them the image is supplemented by speech and takes on a playful character). G. Gardner calls them “communicators” and “visualizers.” For the former, the process of drawing is always included in the game, dramatic action, communication; the latter focus on the drawing itself, draw selflessly, not paying attention to the surroundings. This contrast can be seen in specific children studying in the art studio. Children who are prone to the plot-game type of drawing are distinguished by their vivid imagination and active speech manifestations. Their creative expression in speech is so great that the drawing becomes only a support for the development of the story. The visual side develops worse in these children. Children focused on the image actively perceive objects and the drawings they create and care about their quality.

Knowing these features, we can purposefully guide the creative manifestations of children.

According to A.V. Zaporozhets, visual activity, like a game, allows you to more deeply comprehend the subjects that interest the child. However, what is even more important is that as he masters visual activity, he creates an internal ideal plan, which is absent in early childhood. At preschool age, the internal plan of activity is not yet fully formed; it needs material supports, and drawing is one of these supports.

American authors V. Lowenfeld and V. Lombert Britten believe that artistic education has a huge impact on the development of the child. A child may find himself in drawing, and at the same time his development will be inhibited. The child may experience self-identification, perhaps for the first time. At the same time, his creative work in itself may not have aesthetic significance. Much more important is the change in its development. According to L.S. Vygotsky, we must consider drawing from a psychological point of view, as a kind of child speech and a preliminary stage of written speech.

It is especially important to note the expressive function. drawing: in it the child not only expresses his attitude to reality, but also indicates what is important for him and what is secondary. There are always emotional and semantic centers in the drawing, thanks to which you can control the child’s emotional and semantic perception.

One of the main conditions and indicators of a child’s physical and neuropsychic health is the timely and comprehensive mastery of a small arsenal of movements that improve the functions of the central nervous system. If we talk about plastic surgery, we believe that emphasis should be placed on the development of hand movements in the child, namely the fingers (during drawing, sculpting, exercises).

In connection with the need to develop in children the ability to perform fine manipulations, one interesting circumstance should be noted - the existence of a close relationship between the coordination of fine, light movements and speech. Research by Professor M. Koltseva has shown that speech activity in children partially develops under the influence of impulses coming from the fingers. The same is confirmed by numerous studies by other specialists: the level of development in children is always directly dependent on the degree of development of finger movements.

Three main stages should be distinguished in a child’s creative activity.

The first is the emergence, development, awareness and design of the plan. The theme of the upcoming image can be determined by the child himself or suggested to him.

Basically, children often change the idea and, as a rule, name what they want to draw, then create something completely different. Only if classes are conducted systematically do children’s ideas and implementation begin to coincide. The reason lies in the situational nature of the child’s thinking: at first he wanted to draw one object, but suddenly another object comes into his field of vision, which seems more interesting to him. On the other hand, when naming the object of the image, the child, having still very little experience in activity, does not always correlate what he has in mind with his visual capabilities. Therefore, having picked up a pencil or brush and realizing his inability, he abandons the original plan. The older the children, the richer their experience in visual activity, the more stable their idea becomes.

The second stage is the process of creating an image. The topic of the assignment not only does not deprive the child of the opportunity to show creativity, but also directs his imagination, of course, if you do not regulate the solution. Significantly greater opportunities arise when the child creates an image according to his own plans, when one only sets the direction for choosing the topic and content of the image.

Activities at this stage require the child to be able to master methods of depiction, expressive means specific to drawing, sculpting, and appliqué.

The third stage - analysis of the results - is closely related to the two previous ones - this is their logical continuation and completion. Viewing and analysis of what children create is carried out at their maximum activity, which allows them to more fully comprehend the result of their own activities.

Visual activity is closely related to sensory education. The formation of ideas about objects requires the acquisition of knowledge about their properties and qualities, shape, color, size, position in space. With children with disabilities, we try to identify and name all these properties, compare objects, find similarities and differences, that is, we perform mental actions. As a result, visual activity promotes sensory education and the development of visual-figurative thinking in children.

Thus, modern pedagogical and psychological research proves the need for visual arts for the mental, aesthetic development children of preschool age, as well as for the development of creative activity of children. Preschoolers are able, in the process of objective sensory activity, including drawing, to identify the essential properties of objects and phenomena, establish connections between individual phenomena and reflect them in figurative form. This process is especially noticeable in various types practical activities: generalized methods of analysis, synthesis, comparison and contrast are formed, the ability to independently find ways to solve creative problems is developed, the ability to plan one’s activities, creative potential is revealed.

This implies the need to engage not only in fine arts, but also in specific types of artistic creativity, including drawing.

Turning speech into cognitive processes(perception, representation, imagination, etc.), without which visual activity cannot develop, has a positive impact on the development of the child’s personality.

Speech (of the teacher and the child) organizes and activates the student’s thinking, helps him establish semantic connections between parts of the perceived material and determine the order of necessary actions. In addition, speech acts as an additional incentive to activity. At the same time, it serves as a means of overcoming the tendency to form stereotypical, stereotyped, sedentary skills.

Speech contributes to the formation of graphic skills. In turn, well-organized drawing classes represent strong remedy development of students' speech.

The development of children's speech in the process of visual activity is carried out in several directions: firstly, the schoolchildren's vocabulary is enriched with terms that they initially use, as a rule, in drawing lessons, and then gradually enter their active vocabulary; secondly, the formation and development of speech as a means of communication is carried out; thirdly, the regulatory function of speech is improved, containing great potential for a positive impact on correction and development purposeful activities students.

In drawing lessons, students form concepts that are associated with the process of depiction (“pattern”, “line”, “stripe”, “contour”, “symmetry”, etc.), there is an active accumulation of words that characterize the characteristics of an object or its parts (“big”, “long”, “rectangular”, “blue”, etc.), actions (“draw”, “divide”, “connect”, “color”, etc.), spatial relationships (“in the middle”, “above”, “left”, “closer”, etc.).

In addition to specific words denoting the names of objects, signs, actions, spatial relationships, schoolchildren also learn concepts such as “shape”, “size”, “color”, “location”, etc.

A comprehensive examination of image objects, familiarization with the basic geometric shapes and their characteristic features help students quickly and better master the verbal designations of these shapes.

Work to enrich the vocabulary of mentally retarded schoolchildren during drawing classes is extremely necessary, given that the vocabulary they possess is too poor. Students junior classes The special school completely lacks many concepts. Children do not know the names of some objects, despite the fact that they are familiar with them. Students have an even smaller vocabulary to describe the characteristics of an object. They use a very limited range of words to denote action.

Mastering speech is extremely important for meaningful perception and understanding of the environment. The process of viewing an image object is carried out in unity with thinking and speech. It has been experimentally proven that the inclusion of speech in the act of perception contributes to its more active occurrence. In turn, students’ speech, promoting more perfect perception, significantly improves the quality of ideas, prevents their assimilation, and provides a correct, accurate graphic representation.

Many researchers of children's visual activity note the beneficial effect of speech on the drawing process. The ability to reason correctly while working on a drawing enhances students’ activity, increases their attention, provides better control over hand movements, and makes drawing actions more focused.

“The inclusion of speech can significantly restructure the flow of the drawing process: the child begins to analyze his own drawing, begins to understand what he has done well, and what still needs to be worked on.

The word helps to comprehend the process of depiction - in the process of creating a drawing, the child realizes and reveals the properties of the depicted objects,” writes E. I. Ignatiev.

Meanwhile, as observations show, the speech activity of special school students during drawing lessons is very low. The teacher does not always use the verbal capabilities of schoolchildren. Often he seeks to analyze the nature or sample himself. In lessons, such methodological techniques as a verbal description of the structure of the depicted object and the order of the actions performed are not sufficiently used. Issues of compositional placement of a drawing are rarely discussed. Students' reports on the work they have completed are not properly organized.

Noting the special importance of schoolchildren’s speech activity when studying an object, it is necessary to emphasize that they need additional incentives. In the initial stage of examining an object, promptings like: “Take a closer look!” What more can be said? Further!" etc. However, the feasibility of their use is too short-term. In order to verbalize the signs of an object necessary for drawing, it is necessary to more specifically organize the student’s perceptions. At the same time, clear tasks must be set before him. I.M. Solovyov emphasizes that mentally retarded children must be taught to reason while examining an object. This work, in his opinion, should be carried out with every demonstration of a visual aid; it should permeate all lessons related to the examination of objects.

With the help of speech, the child’s mental activity should be directed to such features of the object as shape, design, proportions, relative arrangement of elements, color, etc.

The verbal designation of signs, in turn, requires students to update the corresponding terms. In this regard, V.G. Petrova writes: “If at the right moment they are not at the child’s disposal and they are communicated to him, then in such a situation these terms are remembered better than in many other conditions, since the student does not just hear a new word , but recognizes it at the moment when it needs it, feels the need to use it.”

In the words of G. M. Dulnev, it is “methodologically advantageous” to time verbal designations, instructions, recommendations at the time of performing the corresponding practical actions. In this case we are talking about lessons manual labor. However, drawing is so similar to this type of activity that the principles of pedagogical influence through speech are actually equivalent.

Students correctional school to a much greater extent than public school students, they need detailed explanations from the teacher in the process of perception and image.

Our experiments have shown that a mentally retarded child cannot act in full accordance with instructions if they are formulated in the most general form, for example: “Look carefully at the object and draw it.” Such an indication does not focus children’s attention on the features of the perceived object, nor does it emphasize the importance of characteristic details that must be taken into account when depicting. Even a drawing on the board, completed by the teacher from start to finish immediately before students work independently, does not provide a complete understanding of the structure of the object. Hence the inevitable mistakes that arise in children's drawings.

Let us present some data we obtained while studying the role of verbal explanations for special school students in the process of drawing from life.

A tower made from construction set bricks was chosen as the object of the image. The tasks were offered to second-grade students of mass and special schools (two groups from each).

For the students of the first group, after familiarizing themselves with the subject, the experimenter demonstrated on the board the order of constructing a drawing. However, he did not give any explanations or instructions. In the second group, the display of the sequential progress of the image was accompanied by detailed explanations. Children were given detailed recommendations regarding the construction of the drawing. The experimenter noted that the base of the tower consisted of three cubes, that there was a red cube in the middle, and green cubes to the left and right of it. Then he gave the children explanations regarding the drawing: “First you need to draw a red cube, put a yellow one on it, and a blue one on the yellow one. After this, you should draw a narrow yellow block, and then a green roof triangular shape. The triangle roof has big sizes and its edges protrude beyond the wall.”

The drawings of the students in the second group turned out to be significantly better than the drawings of the students in the first group.

Only 33% of students in the first group from a special school successfully completed the task. The rest made some mistakes. In the second group, 80% of students successfully completed the task. Students of the first and second groups from a public school completed the task in 87 and 100% of cases, respectively.

The data obtained indicate that the majority of mentally retarded schoolchildren cannot independently understand the structure of an object and learn the order of drawing. They need detailed instructions that establish the mutual connection of the components, emphasizing individual characteristics details and the object as a whole. If such work is not carried out, then students perceive the order of drawing undifferentiated. Acting without taking into account the uniqueness of nature, they make numerous graphic errors.

It should be especially noted the low productivity of the isolated use of words in the process of learning to draw junior schoolchildren. The word must be correlated with a specific object (drawing) or its elements. In addition, it needs to be supported by a specific action (show, gesture).

It is important to teach children the ability to denote an object and its details with a word, talk about their work, and comment on their activities. All this contributes to the development of speech and a more conscious assimilation of the sequence of drawing.

Noting that the teacher’s speech plays the role of a regulator of students’ visual activity, one cannot help but mention those cases when it can turn out to be a kind of brake on the way to overcoming difficulties that arise in children.

In the pedagogical literature it has been repeatedly emphasized that the teacher’s speech should be correct, accessible, accurate, expressive, and moderate. The last requirement is often violated, especially in the lower grades. In an effort to provide detailed explanations, the teacher unwittingly becomes verbose. Such a “speech flow” disorganizes the activities of schoolchildren, distracts them, and reduces their already weak focus in their work. Long verbal explanations cause protective inhibition in students, as a result of which they stop listening to the teacher and begin to engage in extraneous activities.

In order to prevent children from being passive during the analysis of an image object, it is necessary to actively involve them in this process. Correctly selected and posed questions encourage students to systematically identify the characteristics of the subject and plan the upcoming work.

As pedagogical means To enhance the speech activity of schoolchildren in the process of visual activity, various techniques can be used. These include: encouraging the child to recite poems or riddles by heart in order to create emotional attitude to drawing; analysis of the image object (determination of the main features, description of the structure); encouraging students to name and verbally describe the properties of objects included in the thematic drawing; establishing the sequence of work on the drawing (planning); solving compositional problems; comparison of the drawing with nature (sample) and the elements of the image with each other during the task; analysis of the results of visual activities at the end of each lesson; discussion and selection of drawings for a class or school exhibition, etc.

A rational combination of the guiding speech of the teacher and the students themselves makes it possible to use drawing classes as a powerful source of development cognitive activity mentally retarded schoolchildren.