The highest level of development of creative abilities. Diagnostics of creative abilities: scientific approaches, principles and criteria. Talent - a high level of development of creative abilities

A person always consciously or unconsciously seeks to create. Each of us has a huge creative potential and unlimited possibilities for its realization. Creating something new, changing the world around, a person continuously grows and changes himself. Therefore, the search for new ideas and original solutions is one of the manifestations of the continuous search for oneself, self-knowledge and personal growth.

Creative thinking is the key to success in almost every area of life. The ability to think outside the box opens up wide opportunities for self-realization. So where do you start?

Some believe that creativity is just the ability to draw, compose poetry or music. This view is fundamentally wrong, because our perception of the world largely depends on the degree of development of creative abilities and how we feel about it. The less developed these abilities are in a person, the more he is prone to self-criticism, constant dissatisfaction with himself and those around him. He himself subconsciously creates barriers in himself to achieve the set goals, he is afraid to think on a larger scale and implement bold ideas.

So what is the job of developing creativity? According to many psychologists and neurophysiologists, one of the main obstacles to unlocking a person's creative potential is stress. If the human nervous system is in constant tension, then creative impulses simply cannot "break through" through the flow of our worries and experiences.

Therefore, before undertaking intensive work on the development of creative abilities, you need to ... to relax. This, incidentally, is true for the development of intuition, and for other skills. Meditative practices, as well as various methods of relaxation and auto-training, perfectly help with this. Thus, you can move away from the usual thought patterns and make room for new ideas and opportunities. In addition, you can get access to internal resources- states of peace, inspiration and lightness.

Creativity requires a certain distance (detachment from the problem). G. Wallace wrote about this in 1926. He singled out four stages of creative thinking:

Training— task formulation; attempts to solve it.
Incubation- temporary distraction from the task.
insight- the emergence of an intuitive solution.
Examination— testing and/or implementation of the solution.

Therefore, we can say that one of the keys to unlocking creativity is the regular practice of meditation.

What else can you do to unleash your boundless creativity?

Equally important is working with limiting beliefs. Agree, original ideas are in no hurry to come to mind, where thoughts like: "I am mediocrity", "Where can I…", "What will others think?" etc. Therefore, you need to work on your way of thinking. This can help affirmations(caught a limiting belief - immediately tell yourself something positive in return), psychotherapy(you can work with the reasons for the barriers that we put up for ourselves), coaching(we form the strategy of thinking of the winner), etc.

Another important detail in the development of creative abilities is willingness to accept a new idea at any time of the day or night. To do this, you always need to have paper and a pencil on hand (new thoughts can visit you in the most unexpected places!).

Creativity training

You can "start" creative thinking at special trainings. There you can learn special techniques for generating creative ideas, ways to quickly access creative resources, work with blocks and restrictions. Despite the fact that specialists work in different approaches and use different techniques, we list the most common approaches and techniques.

Brainstorm. The author of this method is Alex Osborne. The main principle of the method is to separate the generation of an idea and its criticism in time. Each participant puts forward any, the craziest ideas, others try to develop them, and the analysis of the received solutions is carried out later. Brainstorming can also be done in a written form(brainwriting), when ideas are written down on a piece of paper, which the participants pass to each other, introducing new ideas that have arisen.
mental maps(Tony Buzan). According to the author, creativity is closely related to memory, which means that strengthening memory allows developing creative abilities. The key concept is placed in the center of the sheet, and all associations worth remembering are written down on the branches emanating from the center. You can also accompany the entries with various drawings, magazine clippings, symbols. In the process of creating a mental map, an unexpected solution to the question posed may come.
Six hats of Edward de Bono. The technique allows you to streamline the creative process by mentally putting on one of the six colored hats. So, in white, a person impartially analyzes figures and facts, then puts on black and looks for the negative in everything. After that comes the turn of the yellow hat - the search for the positive sides of the problem. Wearing green, a person generates new ideas, and in red, he can afford emotional reactions. Finally, in blue, the results are summed up.
Morphological analysis. Author: Fritz Zwicky. It is proposed to decompose an object or idea into components, select several essential characteristics from them, then change them and try to combine them again. The result is something fundamentally new. For example, you need to come up with a business card for a perfume company. If you change the classic rectangular shape and the effect on the senses, you can get a triangular business card with the smell of perfume.
Synectics. The main source of creativity, according to William Gordon, is in the search for analogies. It is necessary to select an object and draw a table for its analogies. All direct analogies are recorded in the first column, indirect analogies are written in the second (for example, the negation of the signs of the first column). Then you need to compare the goal, object and indirect analogies. Let's say the object is a pencil, the task is to expand the range. The direct analogy is a three-dimensional pencil, its negation is a flat pencil. The result will be, for example, a pencil bookmark.

The proposed methods help organize the creative process, bringing it out of a number of uncontrolled, intuitive, almost mystical phenomena into the category of understandable algorithms of actions.

By developing your creativity, you will be able to:

Better to know and understand yourself;
Find new solutions to common problems;
Look at the world in a new way;
Increase your own efficiency
and much more.

Remember that you have limitless creativity!

INTRODUCTION

Creativity is understood as the activity of creating new and original products of public importance.

The essence of creativity is the prediction of the result, the correct setting of the experiment, in the creation by the effort of thought of a working hypothesis close to reality, in what Sklodowska called the feeling of nature.

The relevance of the topic is due to the fact that many researchers reduce the problem of human abilities to the problem of a creative person: there are no special creative abilities, but there is a person with a certain motivation and traits. Indeed, if intellectual giftedness does not directly affect the creative success of a person, if in the course of the development of creativity the formation of a certain motivation and personality traits precedes creative manifestations, then we can conclude that there is a special type of personality - a “Creative Person”.

Creativity is going beyond the limits of the given (Pasternak's "over the barriers"). This is only a negative definition of creativity, but the first thing that catches your eye is the similarity between the behavior of a creative person and a person with mental disorders. The behavior of both deviates from the stereotypical, generally accepted.

People do a lot of things every day: small and large, simple and complex. And each case is a task, sometimes more, sometimes less difficult.

When solving problems, an act of creativity occurs, a new path is found or something new is created. This is where the special qualities of the mind are required, such as observation, the ability to compare and analyze, find connections and dependencies - all that in the aggregate constitutes creative abilities.

The acceleration of scientific and technological progress will depend on the quantity and quality of creatively developed minds, on their ability to ensure the rapid development of science, technology and production, on what is now called the increase in the intellectual potential of the people.

The purpose of this course work is to consider aspects of the development of creative abilities.

Based on the goal, the following tasks can be set:

Characterize creativity as a mental process;

Consider the essence of a creative person and her life path;

To study the development of creative abilities;

Review the basic concepts of creativity.

1. ESSENCE AND SIGNIFICANCE OF THE DEVELOPMENT OF CREATIVE ABILITIES

1.1 Creativity as a mental process

Most philosophers and psychologists distinguish between two main types of behavior: adaptive (associated with the resources available to a person) and creative, defined as “creative destruction”. In the creative process, a person creates a new reality that can be comprehended and used by other people.

Attitudes towards creativity in different eras changed dramatically. In ancient Rome, only the material and the work of the binder were valued in the book, and the author had no rights - neither plagiarism nor forgery was prosecuted. In the Middle Ages and much later, the creator was equated with a craftsman, and if he dared to show creative independence, then it was not encouraged in any way. The creator had to make a living in a different way: Molière was a court upholsterer, and the great Lomonosov was valued for his utilitarian products - court odes and the creation of festive fireworks.

And only in the XIX century. artists, writers, scientists and other representatives of the creative professions were able to live by selling their creative product. As A. S. Pushkin wrote, “inspiration is not for sale, but you can sell a manuscript.” At the same time, the manuscript was valued only as a matrix for replication, for the production of a mass product.

In the XX century. the real value of any creative product was also determined not by its contribution to the treasury of world culture, but by the extent to which it can serve as material for replication (in reproductions, television films, radio broadcasts, etc.). Therefore, there are differences in income, unpleasant for intellectuals, on the one hand, representatives of the performing arts (ballet, musical performance, etc.), as well as businessmen of mass culture, and, on the other hand, creators.

Society, however, at all times divided two spheres of human activity: otium and oficium (negotium), respectively, activity at leisure and socially regulated activity. Moreover, the social significance of these areas has changed over time. In ancient Athens, bios theoretikos - theoretical life - was considered more "prestigious" and acceptable to a free citizen than bios praktikos - practical life.

Interest in creativity, the personality of the creator in the XX century. is connected, perhaps, with the global crisis, the manifestation of the total alienation of man from the world, the feeling that by purposeful activity people do not solve the problem of man's place in the world, but further delay its solution.

The main thing in creativity is not external activity, but internal activity - the act of creating an "ideal", an image of the world, where the problem of alienation of man and environment is resolved. External activity is only an explication of the products of an internal act. The features of the creative process as a mental (mental) act will be the subject of further presentation and analysis.

Highlighting the signs of a creative act, almost all researchers emphasized its unconsciousness, spontaneity, the impossibility of its control by the will and mind, as well as a change in the state of consciousness.

The most common are the "divine" and "demonic" versions of the attribution of the cause of creativity. Moreover, artists and writers accepted these versions depending on their worldview. If Byron believed that a “demon” inhabits a person, then Michelangelo believed that God leads his hand: “A good picture approaches God and merges with him.”

The consequence of this is the tendency observed in many authors to disown authorship. Since it was not I who wrote, but God, the devil, the spirit, the "inner voice", the creator is aware of himself as an instrument of an extraneous force.

It is noteworthy that the version of the impersonal source of the creative act passes through spaces, epochs and cultures. And in our time, it is being revived in the thoughts of the great Joseph Brodsky: “The poet, I repeat, is the means of the existence of language. The writer of a poem, however, does not write it because he counts on posthumous fame, although he often hopes that the poem will outlive him, even if not for long. The writer of a poem writes it because the language tells him or simply dictates the next line.

Starting a poem, the poet, as a rule, does not know how it will end, and sometimes he is very surprised at what happened, because it often turns out better than he expected, often the thought goes further than he expected. This is the moment when the future of the language interferes with the present... A person who writes a poem writes it primarily because versification is a colossal accelerator of consciousness, thinking, world outlook. Having experienced this acceleration once, a person is no longer able to refuse to repeat this experience, he falls into dependence on this process, as he falls into dependence on drugs and alcohol. A person who is in such a dependence on language, I believe, is called a poet.

In this state, there is no feeling of personal initiative and no personal merit is felt when creating a creative product, an alien spirit seems to be instilled in a person, or thoughts, images, feelings are instilled in him from the outside. This experience leads to an unexpected effect: the creator begins to treat his creations with indifference or, moreover, with disgust. There is a so-called post-creative saturation. The author is alienated from his work. When expedient activities are performed, including labor activities, there is an opposite effect, namely, the “invested activity effect”. The more effort a person has spent to achieve the goal, the production of a product, the more emotional significance this product acquires for him.

Since the activity of the unconscious in the creative process is associated with a special state of consciousness, the creative act is sometimes performed in a dream, in a state of intoxication and under anesthesia. In order to reproduce this state by external means, many resorted to artificial stimulation. When R. Rolland wrote Cola Breugnon, he drank wine; Schiller kept his feet in cold water; Byron took laudanum; Rousseau stood in the sun with his head uncovered; Milton and Pushkin liked to write while lying on a sofa or couch. Coffee lovers were Balzac, Bach, Schiller; drug addicts - Edgar Poe, John Lennon and Jim Morrison.

Spontaneity, suddenness, independence of the creative act from external causes - its second main feature. The need for creativity arises even when it is undesirable. At the same time, the author's activity eliminates any possibility of logical thought and the ability to perceive the environment. Many authors take their images for reality. The creative act is accompanied by excitement and nervous tension. All that remains for the mind is processing, giving a finished socially acceptable form to the products of creativity, discarding the superfluous and detailing.

So, the spontaneity of the creative act, the passivity of the will and the altered state of consciousness at the moment of inspiration, the activity of the unconscious, speak of a special relationship between consciousness and the unconscious. Consciousness (conscious subject) is passive and only perceives the creative product. The unconscious (unconscious creative subject) actively generates a creative product and presents it to consciousness.

In domestic psychology, the most holistic concept of creativity as a mental process was proposed by Ya. A. Ponomarev (1988). He developed a structural-level model of the central link in the psychological mechanism of creativity. Studying the mental development of children and the solution of problems by adults, Ponomarev came to the conclusion that the results of the experiments give the right to schematically depict the central link of psychological intelligence in the form of two spheres penetrating one into the other. The outer boundaries of these spheres can be represented as abstract limits (asymptotes) of thinking. From below, intuitive thinking will be such a limit (beyond it, the sphere of strictly intuitive thinking of animals extends). From above - logical (behind it the sphere of strictly logical thinking of computers extends).

Rice. 1.1. Scheme of the central link of the psychological mechanism of the creative act according to Ya.A. Ponomarev

The basis for success in solving creative problems is the ability to act "in the mind", determined by a high level of development of the internal plan of action. This ability is perhaps the structural equivalent of the concept of "general ability" or "general intelligence."

Two personal qualities are associated with creativity, namely, the intensity of search motivation and sensitivity to side formations that arise during the thought process.

Ponomarev considers the creative act as included in the context of intellectual activity according to the following scheme: at the initial stage of posing the problem, consciousness is active, then, at the solution stage, the unconscious is active, and consciousness is again involved in selecting and verifying the correctness of the solution (at the third stage). Naturally, if thinking is initially logical, i.e. expedient, then a creative product can appear only as a by-product. But this version of the process is only one of the possible ones.

In general, there are at least three main approaches to the problem of creativity in psychology. They can be formulated as follows:

1. As such, there are no creative abilities. Intellectual giftedness acts as a necessary but not sufficient condition for the creative activity of an individual. The main role in the determination of creative behavior is played by motivation, values, personality traits (A. Tannenbaum, A. Olokh, D. B. Bogoyavlenskaya, A. Maslow, etc.). Among the main features of a creative personality, these researchers include cognitive giftedness, sensitivity to problems, independence in uncertain and difficult situations.

Standing apart is the concept of D. B. Bogoyavlenskaya (1971, 1983), which introduces the concept of "creative activity of the individual", believing that this activity is a certain mental structure inherent in the creative type of personality. Creativity, from the point of view of Bogoyavlenskaya, is a situationally unstimulated activity, manifested in the desire to go beyond the limits of a given problem. A creative personality type is inherent in all innovators, regardless of the type of activity: test pilots, artists, musicians, inventors.

2. Creativity (creativity) is an independent factor, independent of intelligence (J. Gilford, K. Taylor, G. Gruber, Ya. A. Ponomarev). In a softer version, this theory says that there is a slight correlation between the level of intelligence and the level of creativity. The most developed concept is E. P. Torrance's "intellectual threshold theory": if IQ is below 115-120, intelligence and creativity form a single factor, with IQ above 120, creativity becomes an independent value, i.e. there are no creative individuals with low intelligence, but there are intellectuals with low creativity.

3. A high level of intelligence implies a high level of creativity and vice versa. There is no creative process as a specific form of mental activity. This point of view was shared and shared by almost all experts in the field of intelligence.

There would be a special literature on this problem. We believe that the measures proposed above will contribute to a more effective development of creative abilities in preschool age. CONCLUSION Universal creative abilities are the individual characteristics, qualities of a person that determine the success of his performance of various creative activities. ...

A lot of interrelated tasks focused on cognition, creation, transformation of objects, situations, phenomena in a new quality and aimed at developing the creative abilities of younger students in the educational process. The system of creative tasks includes target, content, activity and result components. Traditional writing tasks in Russian language lessons ...

Ekaterina Valentinova
Concepts of creativity and creativity. Basic conditions for the development of creative abilities of preschool children

There are many different definitions concepts of creativity. For example, according to the American scientist P. Hill, “ creation is a successful flight of thought beyond the unknown. It adds to the knowledge contributing to the creation of things that were not previously known. Polish researcher A. Matejko believes that the essence creative process is to reorganize the existing experience and form on it based on new combinations. The Big Encyclopedic Dictionary gives such a general definition creativity: « Creativity is an activity, generating something qualitatively new and distinguished by originality, originality and socio-historical uniqueness. Creation human-specific, since it always presupposes creator - subject(manufacturer, carrier) creative activity».

It can obviously be said that creativity is the solution of creative problems. Wherein creative we define the problem as follows. This is a situation that arises in any kind of activity or in everyday life, which is perceived by a person as a problem that requires the search for new (objectively or subjectively, i.e. unknown to this person) methods and techniques, the creation of some new principle of action, technology. Creative the task is always the result of some kind of contradiction, a discrepancy between the real and the required, the desired.

For it is necessary to know not only the structure of these creativity but also the child himself.

Under creative By activity, we understand such human activity as a result of which something new is created - whether it is an object of the external world or a construction of thinking that leads to new knowledge about the world, or a feeling that reflects a new attitude to reality.

If we carefully consider the behavior of a person, his activity in any area, we will see two main types of actions. Some human actions can be called reproducing or reproductive. This type of activity is closely connected with our memory and its essence lies in the fact that a person reproduces or repeats previously created and developed methods of behavior and actions.

In addition to reproductive activity, human behavior contains creative activity, the product of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions. AT Creativity is at the core of this type..

Thus, Creative skills are individual qualities and human ability which are manifested in the ability to apply knowledge, skills and abilities in conditions non-standard situation.

Problem Analysis development of creative abilities will largely predetermine the content that we will invest in this concept. Very often in ordinary consciousness creativity is identified with the ability to various types of artistic activity, with the ability to draw beautifully, compose poetry, write music, etc. So what is real creativity?

There are many definitions abilities. So, B. M. Teplov believed that capabilities- these are individually - psychological characteristics that distinguish one person from another and are related to the success of the implementation of any activity or many activities. K. S. Platonov believed that capabilities cannot be viewed outside of the individual. Under abilities he understood such"part of the personality structure, which, being actualized in a particular type of activity, determines the quality of the latter." According to L. G. Kovalev, under abilities one should understand the ensemble of properties of the human personality, which provides relative ease, high quality of mastering a certain activity and its implementation. According to the definition of N. S. Leites, capabilities- these are personality traits on which the possibility of implementation and the degree of success of the activity depends. Capabilities- these are the psychological qualities that are necessary for the performance of an activity and are manifested in it. (L. A. Wenger).

A person's abilities can develop spontaneous and organized. In the first case, we are talking about a free, natural, consciously uncontrolled and unmanaged process. ability development. Of course development in this case, it occurs as a person accumulates life experience. True, this process cannot be called completely uncontrolled, since adults, to one degree or another, consciously control this process in a child. Organized process ability development associated with conscious actions aimed specifically at development of relevant abilities.

What are the optimal conditions for the development of abilities?

One of the most important factors creative development of children is to create conditions, contributing to the formation of their creative abilities. On the basis analysis of the works of several authors, in particular J. Smith, B. N. Nikitin, and L. Carroll, we have identified six the main conditions for the successful development of children's creative abilities.

The first step to success is early physical baby development: early swimming, gymnastics, early crawling and walking. Then early reading, counting, early exposure to various tools and materials.

The second important a condition for the development of creative abilities child is to create an environment that is ahead of child development. It is necessary, as far as possible, to surround the child in advance with such an environment and such a system of relations that would stimulate his most diverse creative activity and would develop in it exactly that that at the appropriate moment able most effectively develop. For example, long before learning to read, a one-year-old child can buy blocks with letters, hang the alphabet on the wall and call the letters to the child during games. This is promotes early reading acquisition.

Third, extremely important condition for the effective development of creative abilities comes from the very nature creative process which requires maximum effort. The fact is that the ability to develop more successfully the more often in his activity a person gets "up to the ceiling" its capabilities and gradually raises this ceiling higher and higher. Such condition maximum exertion of forces is most easily achieved when the child is already crawling, but is not yet able to speak. The process of knowing the world at this time is very intensive, but the baby cannot use the experience of adults, since nothing can be explained to such a small one. Therefore, during this period, the baby is forced more than ever to engage in creativity, solve many completely new tasks for him on his own and without prior training (if, of course, adults allow him to do this, they solve them for him). The child rolled far under the sofa ball. Parents should not rush to get him this toy from under the sofa if the child can solve this problem himself.

The fourth is to give the child great freedom in choosing activities, in alternating tasks, in the duration of doing one thing, in choosing ways, etc.. e. Then the desire of the child, his interest, emotional upsurge will serve as a reliable guarantee that even more stress of the mind will not lead to overwork, and will benefit the child.

But giving a child such freedom does not exclude, but, on the contrary, implies unobtrusive, intelligent, benevolent help from adults - this is the fifth condition for the successful development of creative abilities. The most important thing here is not to turn freedom into permissiveness, but help into a hint. Unfortunately, the tip is common among parents. way"help" children, but it only harms the cause. You can't do anything for a child if he can do it himself. You can't think for him when he can think of it himself.

It has long been known that for creativity you need a comfortable psychological environment and the availability of free time, so the sixth condition for the successful development of creative abilities- a warm, friendly atmosphere in the family and the children's team. Adults must create a safe psychological base for the return of the child from creative search and discoveries. It is important to constantly encourage the child to creativity show sympathy for his failures, be patient even with strange ideas unusual in real life. It is necessary to exclude remarks and condemnations from everyday life.

But the creation of favorable conditions not enough to raise a child with high creativity, although some Western psychologists still believe that creation inherent in the child and that it is only necessary not to prevent him from expressing himself freely. But practice shows that such non-intervention few: not all children can open the way to creation, and save for a long time creative activity. It turns out (and pedagogical practice proves this, if you choose the appropriate teaching methods, then even preschoolers without losing originality creativity, create works of a higher level than their untrained self-expressive peers. It is no coincidence that children's circles and studios, music schools and art schools are so popular now. Of course, there is still a lot of debate about what and how to teach. children but the fact that it is necessary to teach is beyond doubt.

Thus, it can be concluded that the availability of data conditions leads to the most complete assimilation of the necessary knowledge, skills, abilities, favors the successful implementation of certain activities and, in accordance with this, effective development of creative abilities. It is also undeniable that the most important condition is the presence of the necessary inclinations in a person. In accordance with the presence of certain inclinations, a plan is built development of human abilities.

The main conditions for the development of creative abilities of younger students

Teacher Sazanova Olga Alexandrovna

What is "creativity" or "creativity"? So, P. Torrens understood creativity as the ability to a heightened perception of shortcomings, gaps in knowledge, disharmony. In the structure of creative activity, he singled out:

perception of the problem;

search for a solution;

the emergence and formulation of hypotheses;

hypothesis testing;

their modification;

finding results.

It is noted that such factors as temperament, the ability to quickly assimilate and generate ideas (not to be critical of them) play an important role in creative activity; that creative solutions come at a moment of relaxation, distraction of attention.

The essence of creativity, according to S. Mednik, is in the ability to overcome stereotypes at the final stage of mental synthesis and in the use of a wide field of associations.

D.B. Bogoyavlenskaya singles out intellectual activity as the main indicator of creative abilities, which combines two components: cognitive (general mental abilities) and motivational. The criterion for the manifestation of creativity is the nature of the person's performance of the mental tasks offered to him.

I.V. Lvov believes that creativity is not a surge of emotions, it is inseparable from knowledge and skills, emotions accompany creativity, inspire human activity, increase the tone of its flow, the work of a human creator, give him strength. But only strict, proven knowledge and skills awaken the creative act.

Thus, in its most general form, the definition of creative abilities is as follows. Creativity is the individual psychological characteristics of the individual, which are related to the success of any activity, but are not limited to the knowledge, skills and abilities that have already been developed by the student.

Since the element of creativity can be present in any kind of human activity, it is fair to speak not only about artistic creativity, but also about technical creativity, mathematical creativity, etc. Creativity is an amalgamation of many qualities. And the question of the components of human creativity is still open, although at the moment there are several hypotheses concerning this problem.

Many psychologists associate the ability to creative activity, primarily with the peculiarities of thinking. In particular, the well-known American psychologist J. Gilford, who dealt with the problems of human intelligence, found that creative individuals are characterized by the so-called divergent thinking. People with this type of thinking, when solving a problem, do not concentrate all their efforts on finding the only correct solution, but begin to look for solutions in all possible directions in order to consider as many options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or form links between two elements that at first glance have nothing in common. The divergent way of thinking underlies creative thinking, which is characterized by the following main features:

Speed - the ability to express the maximum number of ideas (in this case, it is not their quality that matters, but their quantity).

Flexibility is the ability to express a wide variety of ideas.

Originality - the ability to generate new non-standard ideas (this can manifest itself in answers, decisions that do not coincide with generally accepted ones).

Completeness - the ability to improve your "product" or give it a finished look.

Candidates of Psychological Sciences V.T. Kudryavtsev and V. Sinelnikov identified the following universal creative abilities that have developed in the course of human history

Imagination realism is a figurative grasp of some essential, general trend or pattern of development of an integral object, before a person has a clear idea about it and can fit it into a system of strict logical categories. The ability to see the whole before the parts.

Supra-situational - transformative nature of creative solutions, the ability to solve a problem not just choose from alternatives imposed from the outside, but independently create an alternative.

Experimentation - the ability to consciously and purposefully create conditions in which objects most clearly reveal their essence hidden in ordinary situations, as well as the ability to trace and analyze the features of the "behavior" of objects in these conditions.

Scientists and teachers involved in the development of programs and methods of creative education based on TRIZ (theory of inventive problem solving) and ARIZ (algorithm for solving inventive problems) believe that one of the components of a person’s creative potential is the following abilities:

ability to take risks;

divergent thinking;

flexibility in thinking and action;

speed of thinking;

the ability to express original ideas and invent new ones;

rich imagination;

perception of the ambiguity of things and phenomena;

high aesthetic values;

developed intuition.

Analyzing the points of view presented above on the issue of the components of creative abilities, we can conclude that, despite the difference in approaches to their definition, researchers unanimously single out creative imagination and the quality of creative thinking as essential components of creative abilities.

According to D.N. Druzhinin, the activation of creative activity is achieved:

lack of regulation of subject activity, more precisely, the absence of a model of regulated behavior;

the presence of a positive model of creative behavior;
The ability to take risks.
Divergent thinking.

Flexibility in thought and action. creating conditions for imitating creative behavior and blocking manifestations of aggressive and deductive behavior;

social reinforcement of creative behavior.

The creative activity of the student increases his involvement in the educational process, contributes to the successful assimilation of knowledge, stimulates intellectual efforts, self-confidence, and fosters independence of views.

In order to successfully activate the creative activity of schoolchildren, the teacher needs to see the effectiveness and productivity of his work. To do this, it is necessary to monitor the dynamics of the manifestation of the creative activity of each child. The elements of creativity and interaction of the elements of reproduction in the activity of a schoolchild, as well as in the activity of a mature person, should be distinguished according to two characteristic features:

by the result (product) of activity;

according to the way it proceeds (process).

It is obvious that in educational activity the elements of students' creativity are manifested, first of all, in the peculiarities of its course, namely, in the ability to see the problem, to find new ways to solve specific practical and educational problems in non-standard situations.

Thus, we can conclude that creative activity is activated in a favorable atmosphere, with benevolent assessments from teachers, and encouragement of original statements. An important role is played by open-ended questions that encourage students to think, to search for a variety of answers to the same questions of the curriculum. It is even better if the students themselves are allowed to ask such questions and answer them.

Creative activity contributes to the development of creative abilities, an increase in the intellectual level.

Thus, by creativity we understand the totality of the properties and qualities of a person necessary for the successful implementation of creative activity, allowing in the process of it to perform the transformation of objects, phenomena, visual, sensual and mental images, to discover something new for oneself, to seek and make original, non-standard solutions .

The successful development of creative abilities is possible only if certain conditions are created that are conducive to their formation. In the psychological and pedagogical literature, such conditions are:

Changing the student's role . A fundamental change in the role of an elementary school student in the classroom, according to which he must become an active participant in learning, having the opportunity to choose, satisfy his interests and needs, and realize his potential. In the process of performing creative tasks, personal-activity interaction between students and the teacher is necessary. Its essence lies in the inseparability of direct and reverse effects, the understanding of interaction as co-creation.

Comfortable psychological environment. Creating a comfortable psychological environment conducive to the development of abilities: encouraging and stimulating the desire of children for creativity, faith in the strengths and capabilities of schoolchildren, unconditional acceptance of each student, respect for his needs, interests, opinions, excluding comments and condemnations. Negative emotions (anxiety, fear, self-doubt, etc.) negatively affect the effectiveness of creative activity, especially in children of primary school age, since they are characterized by increased emotionality. A favorable psychological climate is also important in the student team, which reigns when an atmosphere of goodwill, care for everyone, trust and exactingness is created.

Creation of intrinsic motivation for learning. The need for internal motivation for learning with a focus on creativity, high self-esteem, self-confidence. Only on their basis is it possible to successfully develop creative abilities. Then the cognitive need, the desire of the child, his interest not only in knowledge, but also in the very process of searching, emotional upsurge will serve as a reliable guarantee that greater mental stress will not lead to overwork, and will benefit the child.

Correct pedagogical assistance to the child. Unobtrusive, smart, friendly help (not a hint) of adults. You can't do anything for a child if he can do it himself. You can't think for him when he can think of it himself.

Combination of various forms of work. The optimal combination of frontal, group, individual forms of work in the classroom, depending on the goals of the creative task and its level of complexity. The preference for collective and group forms is due to the fact that a joint search allows you to combine the knowledge, skills, abilities of several people, contributes to an increase in the intensity of reflection, which plays an important role in the process of creating a new one. In the process of reflection, the student realizes not only creative activity as such, but also himself in creativity (his needs, motives, opportunities, etc.), which allows him to adjust his educational path.

Interdisciplinary . In the process of solving creative problems, as a rule, it is necessary to use knowledge from different areas. And the more complex the task, the more knowledge should be applied to solve it.

Creating a situation of success. Assignments of a creative nature should be given to the whole class. When they are done, only success is measured. In each child, the teacher must see the individuality. Do not prepare creative assignments personally for the most capable students and offer them instead of the usual assignments that are given to the whole class.

Independence in performing creative tasks. The child’s independent solution of tasks that require maximum effort, when the child reaches the “ceiling” of his abilities and gradually raises this ceiling higher and higher. Complex, but feasible creative tasks for children are needed, which stimulate interest in creative activity and develop appropriate skills.

Variety of creative tasks , both in content and in the forms of their representation, and in the degree of complexity. The optimal combination of creative and ordinary learning tasks contains rich developmental opportunities, ensures the work of the teacher in the zone of proximal development of each student.

Consistency and consistency in the development of creative abilities of younger students. The episodic nature of creative exercises and tasks provided for by any primary education program does not contribute to the activation of students' creative activity, therefore, it does not effectively affect the development of children's creative abilities.

Based on the studied literature on the topic, in this work I tried to determine the main directions and methods for the development of such important components of creative abilities as motivation, creative thinking and imagination in primary school age. I developed a system, i.e. an ordered set of various creative tasks focused on cognition, creation, transformation and use of objects, situations, phenomena in a new quality, aimed at developing the creative abilities of schoolchildren in the educational process.

Criteria for the level of development of creative abilities of younger students.
In order for the process of developing the creative abilities of younger students to be successful, knowledge about the levels of development of the creative abilities of students is necessary, since the choice of types of creativity should depend on the level at which the student is.

Based on the understanding of the term "creativity", which implies the student's desire to think in an original, non-standard way, independently seek and make decisions, show cognitive interest, discover new things that are unknown to the student, I have identified the following criteria for the level of development of creative abilities of younger students:

A cognitive criterion that reveals knowledge, ideas of younger students about creativity and creative abilities, understanding the essence of creative tasks.

Motivational - need criterion - characterizes the student's desire to prove himself as a creative person, the presence of interest in creative types of educational tasks.

Activity criterion - reveals the ability to originally perform tasks of a creative nature, activate the creative imagination of students, carry out the process of thinking outside the box, figuratively.

Each of the criteria has a system of indicators characterizing the manifestation of the studied qualities according to this criterion.

Table 1

Criteria

Indicators

Measuring

cognitive

1. Knowledge of the concept of "creativity" and operating with it.
2. The presence of ideas about creativity and creative abilities.

Testing

Method "Compositor".

Motivational-need

1. Attitude towards creative exercises.
2. Development of creative abilities.
3. Striving for self-expression, originality.

observation.

Method "Make up a story about a non-existent animal"

activity

1. Proposal of new solutions in the process of educational activities.
2. The manifestation of unconventional, creativity, originality of thinking.
3. Participation in collective creative activity

Observation

Method of problem situations.

Method "Three words"

In accordance with the selected criteria and indicators, the levels of development of creative abilities of younger students are characterized as follows:

table 2

Criteria

High level

Middle level

Low level

cognitive

Has a sufficient level of knowledge, good speech development.

Has an insufficient level of knowledge, concepts, ideas; average speech development.

Has a low level of knowledge, fragmentary, poorly learned concepts, speech is poorly developed.

Motivational-need

The student seeks to show creative abilities, performs creative tasks with interest.

The student is not active enough, performs creative tasks under the supervision of the teacher, however
can show himself as a creative person.

The student is passive, does not seek to show creative abilities.

activity

Shows originality, imagination, independence in performing tasks.

Demonstrates originality, unconventionality in the performance of tasks. But often the help of a teacher is needed.

Cannot create or receive
unusual images, solutions; refuses to comply
creative tasks

Characteristics of the levels of creative abilities of younger students

1. High level.

Students show initiative and independence of decisions, they have developed a habit of free self-expression. The child manifests observation, ingenuity, imagination, high speed of thinking. Students create something of their own, new, original, unlike anything else. The work of a teacher with students with a high level is to apply those techniques aimed at developing their very need for creative activity.

2. Average level.

It is typical for those students who perceive tasks quite consciously, work mostly independently, but offer insufficiently original solutions. The child is inquisitive and inquisitive, puts forward ideas, but does not show much creativity and interest in the proposed activity. The analysis of the work and its practical solution is only if the topic is interesting, and the activity is supported by strong-willed and intellectual efforts.

3.Low level.

Students at this level master the skills to acquire knowledge, master certain activities. They are passive. With difficulty, they are included in creative work, they expect causal pressure from the teacher. These students need a longer period of time to think and should not be interrupted or asked unexpected questions. All children's answers are stereotyped, there is no individuality, originality, independence. The child does not show initiative and attempts to non-traditional solutions.

Conclusion

A child is not a jug to be filled, but a lamp to be lit. Medieval humanists

An important condition for the development of creative abilities is the perseverance and initiative of a person, without which there can be no search. Research carried out in this direction makes it possible to indicate the basic conditions necessary for the development of the creative abilities of schoolchildren.

early start (drawing, modeling, constructor);

surrounding the child with such an environment, such a system of relations that would stimulate the earliest creative force;

maximum exertion of forces, that is, the child must reach the ceiling of his abilities and gradually raise this ceiling;

greater freedom in the choice of activities, in the alternation of cases;

smart adult help;

the emotional side of things.

Creativity can be developed in the following ways:

a) the use in the educational process of methods that contribute to the development of logical thinking, initiative, activity, independence. A special role in this belongs to problem-based learning;

b) the inclusion of research elements in various types of educational activities;

c) familiarization with ingenuity in the classroom and extracurricular activities;

d) organization of individual lessons of a creative nature.

The task of the modern school is to teach children to make the right choice, the ability to self-realization, self-government, self-education, that is, to teach them to think creatively.

The formation of positive motivation in their attitude to various types of activities is an indispensable condition for increasing the effectiveness of training.

The development of cognitive interest is an effective means of developing creative abilities not only in the field of solving creative problems, but also in the field of studying theoretical material. Comparing according to our observations, according to the results of the survey, surveys among parents and students, according to the results of testing, we can conclude that children are easier to complete tasks of varying complexity. They are not afraid of test papers, as the results get better, it inspires them. The attitude of the guys has become much more serious to the lessons, to their duties.

As in every class, there are children who study better or weaker, the reasons for this are preparedness for school, the attitude of parents towards their children, the state of health of children, and the individual typological characteristics of children. My work on the problem is still ongoing. In my lessons I systematically include tasks for the development of attention, memory, for the development and improvement of imagination, thinking, in which I include graphic images, geometric shapes, mathematical terms and tasks, games that help expand the mathematical vocabulary.

Among the tips (A. Diesterweg), which the teacher should adhere to, there are such tips:

Try to establish a teaching plan that is well suited to the needs of your students.

Finally, study constantly and uninterruptedly works: general pedagogical, didactic, methodical, logical, psychological, and others, which in general help the teacher to achieve the highest development.

The teacher must study and determine the real possibilities of students in the zone of proximal (potential) development and, on this basis, build further work in the lesson:

Plan the purpose of the lesson as an interconnected set of tasks of education, upbringing and development of students;

Highlight the main, essential content of the educational material;

Choose the best combination of teaching methods based on their comparative effectiveness for specific conditions;

To carry out a differentiated group approach to students, differentiating not only the volume and complexity of the educational material, but also the degree of assistance;

Optimal combination of various forms of educational work;

Provide the most favorable, hygienic, moral-psychological and material conditions for learning.

To awaken the creativity inherent in every child, to teach to work, to help understand and find oneself, to take the first steps in creativity for a joyful, happy and fulfilling life - this is what we strive to the best of our strength and abilities, organizing our lessons. Of course, this problem cannot be solved by one teacher alone. But if each of us sets this goal and strives for it, then our children, our future will win in the end.

Everything in our life is unique
This has been done for a long time, for centuries.
Only one thing is indisputable, visible,
Who taught - lives in the students.
He teaches, so he sees running in life.
I believe that a true teacher
Happy man on earth!

Literature.

For the most accurate understanding of the topic of our study, it is necessary to give the concept of "creativity". Creativity is defined as a human activity that creates new material and spiritual values that have novelty and social significance, that is, as a result of creativity, something new is created that did not exist before. The concept of "creativity" can also be given a broader definition. The Soviet philosopher A. Mateiko believes that the essence of the creative process lies in the reorganization of existing experience and the formation of new combinations on its basis. Creativity is the process of creating a subjectively new, based on the ability to generate original ideas and use non-standard methods of activity. In essence, creativity is "the ability to create any fundamentally new opportunity" (G.S. Batishchev).

Many combine the concept of "creativity" and "creative activity", comparing them to each other. These two concepts are considered to be integral components of all creativity. The concept of creative activity is usually understood as an activity associated with the creation of something qualitatively new.

There are different types of creativity: scientific, technical, artistic, etc. All of them have their own specific features, commonality and differences.

Scientific creativity is "an activity aimed at the production of new knowledge that receives social approbation and is included in the system of science", "a set of higher cognitive processes that expand the boundaries of scientific knowledge". Creativity in science requires, first of all, the acquisition of fundamentally new socially significant knowledge; this has always been the most important social function of science.

This is the basis of technological progress. Technical creativity as a form of practical activity is a specific social phenomenon. Its specificity is determined by the nature of the technical problem, the solution of which requires a real tool, invention or design. Unlike scientific, technical creativity is directly related to the practice of operating existing technical structures in the process of creating and introducing new structures into production. In technical creativity, practical and spiritual moments of activity are closely intertwined. Practical action is expressed in changing the material of nature during the actual design of a technical object. Spiritual activity acts as an ideal construction of an object.

Technical creativity involves obtaining new results in the field of technology in the form of technical ideas, drawings, embodied in real technical objects.

Unlike scientific and technical creativity, artistic creativity does not have a direct focus on novelty, it is not identified with the production of a new one, although originality is usually present among the criteria for artistic creativity and the evaluation of artistic talent. At the same time, art never denied the strength and power of scientific methods and used them to the extent that they helped to solve the main task of art - the creation of aesthetic values. But at the same time, there is always in art an understanding of superiority over science in the ability to use the power of fiction, intuition and fantasy.

Next, you need to define what “ability” is in general. According to Teplov B. M., “abilities are certain individual psychological characteristics that distinguish one person from another, which are not reduced to the stock of skills and knowledge already available to a person, but determine the ease and speed of their acquisition.” The key to the development of abilities is the concept of "efficiency" - a subtle adaptation of personality traits to the requirements of activity.

Thus, in its most general form, the definition of creative abilities is as follows. Creative abilities are the individual characteristics of a person's quality, which determine the success of his performance of various creative activities.

In most cases, a creative person is a person who thinks in an original way, the result of these thinking will be non-standard solutions.

But thinking can be both reproductive and creative. Reproductive thinking is a kind of thinking in which our memory helps us to reproduce existing images and concepts. And creative thinking is the kind of thinking that generates some new, previously unknown material.

And this means that creative activity cannot be based on only one type of thinking - reproductive, there must be creative thinking, which is one of the most important components of human creativity.

Let us turn to the works of L. S. Vygotsky, with the aim of the most complete understanding of creativity as a product of human activity:

“In addition to reproducing activity, it is easy to notice in human behavior another kind of this activity, namely, combining or creative activity.”

By reproducing activity, Vygotsky understood the ability of our brain to preserve and reproduce the experience we already have. And the organic basis of such reproducing activity (or memory) is the plasticity of our nervous substance.

“Any such activity of a person, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions, will belong to this second kind of creative or combining behavior.”

Thus, L. S. Vygotsky tells us that creativity cannot simply be called the reproduction of our experience, and creativity, in his understanding, is the creation of something completely new, something that we did not know yet.

"This creative activity, based on the combining ability of our brain, psychology calls imagination or fantasy."

This means that creativity and imagination are inextricably linked in their essence.

Creative imagination, like any other activity, of a child differs from the activity of an adult, because a child in his growing up goes through different eras of childhood. In each period of child development, creative imagination works in a special way, characteristic of the particular stage of development at which the child stands. Because the imagination depends on experience, and the child accumulates experience gradually. But in turn, there is an opinion that the imagination of a child is richer than that of an adult. But this statement does not find its confirmation in scientific consideration. The experience of a child is poorer than that of an adult, the interests are simpler, more elementary, poorer, therefore the child's imagination is not richer, but poorer than that of an adult. In the process of child development, imagination also develops, reaching its maturity only in an adult.

O. M. Dyachenko refers to the main criteria for the manifestation of creative imagination in preschoolers:

1. Originality in the performance of creative tasks by children.
2. The use of such a restructuring of images, in which the images of some objects are used as details for the construction of others.

Creativity is creativity. In this case, creativity is understood broadly, from the standpoint of a personal approach, which allows us to interpret creativity as a developing phenomenon. Research by psychologists and educators allows us to connect creativity with the development of personality and intellect, with the development of imagination, which has a special form, appearance in a preschool child, which means that the creativity of a preschooler also has a special form.

Thus, it became clear to us that creative activity, in addition to being associated with imagination, is also dependent on creativity.

J. Gilford identified four main parameters of creativity:

1) originality - the ability to produce distant associations, unusual answers;
2) semantic flexibility - the ability to highlight the function of an object and suggest its new use;
3) figurative adaptive flexibility - the ability to change the form of the stimulus in such a way as to see in it new features and opportunities for use;
4) semantic spontaneous flexibility - the ability to produce a variety of ideas in an unregulated situation. General intelligence is not included in the structure of creativity.

Later, J. Gilford mentions six parameters of creativity:

1) the ability to detect and formulate problems;
2) the ability to generate a large number of ideas;
3) flexibility - the ability to produce various ideas;
4) originality - the ability to respond to stimuli in a non-standard way;
5) the ability to improve the object by adding details;
6) the ability to solve problems, i.e. the ability to analyze and synthesize.

We note the main directions for the development of creative abilities in children:

1. Development of the imagination.
2. Development of the qualities of thinking that form creativity.

Of the three types of creativity previously presented to us, children's creativity is reflected only in art. Children of preschool age still do not know how to count, write, solve complex problems, they are generally beyond their strength, therefore, we cannot talk about scientific creativity at preschool age. Technical creativity is also not characteristic of preschool children, their level of development simply does not allow them to do so. Yes, and we understand that we cannot implement the inventions of children, because for this it is necessary that they be safe for the life of all people, which a preschooler cannot take into account when inventing new technical means.

In modern literature, the analysis of the creativity of preschoolers is carried out mainly in three directions (N. N. Poddyakov). The first direction involves the study of the mechanisms of the child's creative processing of newly acquired experience, as well as the quantitative and qualitative features of the transformative, combining activity of children in this process. A special place is occupied by the definition of the role of fantasy in the development of creativity of preschoolers. The second direction is the study of the structure of search activity, the formation and change of its main forms, the conditions for the complication and development of this activity, etc. One of the important forms of search activity is children's experimentation. The third direction focuses on the study of the problems of interaction and the relationship of the creative process with the emotional development of preschoolers. Emotions form the basis for the formation of the child's needs both in the creative process itself and in its final product. The emotional saturation of children's creativity, ultimately, contributes to the formation of the heuristic structure of personality.

Psychologists also argue that the development of creativity qualitatively changes the personality of a person.

L.A. Paramonova highlights the following features of the preschooler's creativity. Children make many discoveries and create an interesting, sometimes original product in the form of a drawing, construction, poem, etc. The novelty of discoveries and products is subjective; this is the first important feature of children's creativity. At the same time, the process of creating a product for a preschooler is almost of paramount importance. The activity of the child is distinguished by great emotional involvement, the desire to seek and try out different solutions many times, receiving special pleasure from this, sometimes much more than from achieving the final result. And this is the second feature of children's creativity. For an adult, the beginning of solving a problem (its awareness, the search for approaches) is the most difficult and painful, sometimes leading to despair. A child, unlike an adult, does not experience such difficulties (unless, of course, he is subjected to the harsh demands of adults). He easily and practically begins an indicative, sometimes not even entirely meaningful activity, which, gradually becoming more focused, captivates the child with a search and often leads to positive results. And even in the musical creativity of the child, there is a simultaneity of composition and performance. And this is the third feature of children's creativity, undoubtedly connected with the first two, and especially with the second.

N. A. Vetlugina for each period of childhood highlights its characteristics of creative activity and creativity:

For children from two to three years, simpler actions are characteristic. For example, they like to listen to poems, songs. They also tend to draw, sculpt, dance, read poetry and sing, but in the classroom for artistic activities. And in independent activities, according to Vetlugina, children draw on their own, and dance and sing along with the teacher. Also, at the holidays that are held in kindergarten, children are simply present and rejoice, but they themselves do not participate yet.

Children from three to four years old are characterized by a manifestation of interest in creativity, the ability to concentrate, an understanding of what is being discussed in poems and songs. They can work both independently and in a team of peers. Sometimes they even begin to draw, dance, sing on their own, without the suggestion of a teacher, but still they do not always actively take the initiative to creative activity. They can already take part in festive matinees and entertainment.

Children from four to five years old are characterized by the correct perception of all works of art, they feel the need for independent artistic creativity: drawing, modeling, singing, dancing, reading poetry. Creativity manifests itself in the following way: they sing small songs clearly, read poetry expressively, successfully depict objects and phenomena in drawings, convey the content of a picture, song, game, drawing, but so far with the help of an educator. On their own initiative, they look at pictures, color them, draw. Actively answer questions during holiday entertainment, if necessary, show a desire to participate in holiday performances and entertainment.

Children from five to six years old are characterized by a manifestation of interest in various types of art, trying to learn certain skills, and accurately fulfill the tasks of the teacher. Correctly represent the content of the lesson (we learn to draw, sculpt, etc.). They show musical and poetic ear, show a sense of rhythm, feel and distinguish between musical, poetic and prose forms. They show a desire to independently perform a certain role in dramatization and musical plot play. Evaluate the quality of the work of their comrades, perceive evaluations from comrades. They themselves choose a song, verse, book, take the initiative in organizing an amateur concert, repeat at home the most memorable, most interesting songs, dances, poems from the festive repertoire.

Children from six to seven years old are characterized by an emotional perception of a work of art. Children willingly engage in all types of artistic activities, giving preference to one of them. They show the ability to timely submit their cue in the game-dramatization, being engaged in visual activity, bring the idea to the end. They know what is needed for a song to be well sung, a drawing to be well drawn, etc. Accurately repeat the movements shown in the rhythm lessons. They feel and distinguish the form of a musical work, a poetic one. Show imagination when retelling. They use figurative expressions from fairy tales, songs, poems. The desire to correctly evaluate their own performance. They know different types of spectacles (cinema, theater, circus), express a desire to listen to their favorite works, can pick up, on their own initiative, a familiar melody on a metallophone. Show creative initiative and organizational skills.

In the course work we are talking about artistic and creative abilities. The “artistic coloring” of the abilities manifested in creative activity is given by its “artistic character”. “Artistry” is one of the most important concepts in the aesthetics of art history, reflecting the specific feature of art as a form of reflection and cognition of reality. It is customary to refer to artistic activities as visual activity with all the variety of its types - directly pictorial (drawing), decorative (decorating - decorating and design) and design (construction from various materials - natural, waste, paper, etc.) In kindergarten, preschoolers master almost all types of visual activity (drawing, modeling, application) and design.

The main activity of preschool children in which they can show their creative abilities is the game. In it, they can think over plots, roles, lines of development of the game, thereby including their imagination, creativity. But in addition to the game, children are engaged in creativity of this kind, such as drawing, modeling, singing, dancing. The development of these types of creativity indicates to us that the child develops both creative activity and imagination.

It is especially important when children can think through a role-playing game (senior preschool age) and begin to play it, inventing everything that will happen to them themselves. This will be one of the main indicators of the normal development of children.

During classes in visual activity, children learn to reflect the reality around them, to correctly convey the shape and color of objects. During these activities, the child not only learns to reproduce the objects he has seen, but he also learns to think. It is not always possible to draw from life, having a sample in front of you, then the children begin to remember the objects that they have already seen and try to repeat them in drawings, sculptures, applications. Again, when children draw, they put into the drawing some kind of experience, emotions associated with what they want to depict. They are trying to come up with some kind of plot, to determine the meaning of what is drawn, thereby giving the activity a creative character.

Often children try to reproduce in their works something that cannot exist at all, using creative thinking, imagination and, to some extent, creativity. They try to combine parts of individual characters, animals, make trees speak, and so on. This is where the creativity of children comes into play.

There is also creativity in music lessons. Often, dance teachers turn on music and allow children to move freely to the music. How many different and interesting things do children do in these types of classes. Often dance performances are made from the same movements that the choreographer saw during the children's free dance.

The creative thinking of children is very different from that of adults. Differences find a place not only in a smaller store of knowledge and little experience, but also in the absence of many stereotypes that shackle people. Therefore, it is worth taking a closer look at the products of children's creativity, sometimes you can find something really new and unusual there.

Thus, we can say that creativity is one of the most important and interesting topics for study. Creativity and creative activity are integral parts of human life, creativity can manifest itself in everything: in leisure, in work, in conversation, etc. The creativity of children cannot be expressed in absolutely everything, but it also has a place to be. At first, children are taught creativity, they are taught the types of creative activity, and then, as the child develops, his mental processes, creativity and creative activity begin to manifest themselves, not only in special classes. And the creativity of children, sometimes, has no boundaries. The main types of children's creativity can be considered: choreography, visual, musical creativity, play, writing fairy tales and poems, fantasizing. And the development of all of them is possible only under the condition of the normal development of the main areas of creative abilities, such as imagination and thinking. But thinking is not reproductive, but creative. Only with the normal development of these areas can we talk about creative abilities. And the tendency to one of the types of creative activity indicates the preference and predisposition of the child. And on the basis of the characteristics of creative activity proposed by N. A. Vetlugina, the following criteria for the development of creative abilities characteristic of each age can be distinguished:

1. interest in creativity and creative activity;
2. active participation in organized creative activities;
3. independent creative activity;
4. And for older children, there is also a manifestation of creative initiative.

The presence of all these criteria in each age period indicates that the development of creative abilities corresponds to normal development. The absence of one of these criteria tells us that it is worth taking a closer look at the development of this child, perhaps the child needs the help of an adult in the development of certain prerequisites for creative activity.