Carrying out in the previous paragraph a systemic and structural analysis of teaching culinary technology to students in grades 5-7, studying the experience of teaching this module that has developed in modern practice secondary school made it possible to identify its place and role in the content of program material educational field"Technology" and potential possibilities of aesthetic education of schoolgirls.
To determine pedagogical conditions and their effective implementation in the educational process, we have formulated statutory groups of technological and aesthetic knowledge and skills for solving the tasks we have set within the framework of qualifying work. We presented this data in table No. 3 (see Appendix No. 3.)
Analysis of the presented table allows us to state that we have grouped seventeen technological complex groups. A comparative analysis of their potential capabilities in solving the problems of aesthetic education of students and data on the actual implementation of educational influence on students in school practice allows us to conclude that there are a number of fundamental issues in aesthetic education that are not implemented in the classroom technology of fabric processing. They are set out in detail in our experimental program, which takes into account the conditions of the school in which we have been three years underwent teaching practice, regional features of Kuban. As well as covering key issues in teaching students culinary technology.
Along with the curriculum and the complex groups of technological knowledge and skills that we have identified, potentially ensuring the aesthetic education of students in textile processing technology classes, there are such components of the educational environment as: subject environment(a room for technology classes, its design with stands, didactic handouts, material and technical equipment), culture of interpersonal relationships, organization of students’ workplace, compliance with the rules of sanitation and hygiene, appearance, work clothes, aesthetic attitude to the subject, means and result of your labor.
In the theory of aesthetic education, the living environment is often considered as an element of the aesthetic educational process. The habitat includes not only the surrounding natural environment, but also the “second nature” created by people. Activities to transform this environment, the experience of generations embodied in it, turn out to be an active factor in education. Therefore, people strive to constantly improve this environment, in accordance with changing and deepening ideas about a full-blooded life.
In this regard, the aesthetic training of the younger generation should be the most important area of its introduction to universal human values, which form the basis of the cultural environment, and therefore, one of the most important forms his socialization as a person. This inclusion must be based on the integration of knowledge from various fields of science, the disclosure of the relationship and interdependence of general scientific, social, technological, aesthetic, environmental, pedagogical, psychological and other issues in the system of global problems of the development of general and aesthetic human culture. Aesthetic education should be based on the formation of aesthetic relationships. These relationships arise from a complex system of human relations with the surrounding natural and artificial object, technological world and society, which have developed in the process of socio-historical practice and includes three dialectically interconnected components: activity, scientific knowledge, communication. Their interaction in the aesthetic, cognitive process forms an aesthetic culture of relationships, an aesthetic worldview. The formation of aesthetic relations is based on aesthetic activity; it is an active means and condition for the aesthetic education of students in the educational field of technology. In this activity, aesthetic consciousness, an aesthetic attitude towards the object, the means, the result of work, and interpersonal relationships in work are formed.
It should be noted that these relations constitute an internal unity with moral relations and assessments, as well as technological, environmental and social ones. Therefore, a utilitarian-practical approach to the subject of labor, which, as is known, is a subject of nature, should be built on the principles of morality and humanism, aesthetic and technological ethics. Compliance with these principles in combination with an understanding of the aesthetic as universal value, allows, in the process of productive activity, to optimally use the objective aesthetic and technological properties of an object of nature, to create the necessary artistic form, artistic quality and image of the manufactured product. This approach solves the pedagogical problems of forming an internal aesthetic culture among schoolchildren, which predetermines the value attitude towards the social functions of the created product.
The formation of this system of values among schoolchildren is organically connected with their understanding that the artistic form, artistic quality and image of the product depend not only on the natural properties of the object of labor, but also on the social circumstances in which it is included: socio-economic conditions, spiritual and moral the state of society, its traditions, the level of development of material production, scientific knowledge and professionalism, aesthetic culture and value orientations of its participants and other factors. The most powerful factor in the aesthetic education of schoolchildren is a systematic and active approach. He, along with students’ mastery of aesthetic theory, the natural and social world, folk artistic creativity, design, decorative and applied arts, works of art, architecture, involves the direct participation of schoolchildren in the creative process of creating beauty.
This process must take place under the combined influence of the listed components, and also be based on the relationship of aesthetic and technological principles and categories. It is known that the beauty and harmony of any product is based on general artistic laws (integrity, tectonics, tradition), as well as patterns, techniques and means of composition (scale, proportions, contrast, rhythm, metricity, symmetry, asymmetry, statics, dynamics, use of color, texture, texture, etc.).
The artistic quality of the created product, expressed by the functional, constructive, aesthetic form and logic, quality and modernity of technological solutions, embodies the natural and social characteristics of objects in their relation to the practice of human development of the surrounding world and universal significance. Therefore, it is necessary for schoolchildren to form an attitude towards objects, means and results of labor from a universal human perspective, to reveal their socio-historical and socio-cultural nature. This process includes instilling in students a socially valuable attitude towards the thing being produced, from the point of view of the sphere of consumption, in which every useful thing is at the same time social, expedient, aesthetically perfect, cultural, etc. The achievement by students in the process of independent aesthetic activity of the functional and decorative beauty of the created product on the basis of the monism of technology and aesthetics hones the depth of logical scientific, aesthetic, technological thinking, the subtlety of feelings, and develops in schoolchildren the ability to act in a scientifically sound, purposeful, productive, selective, universally significant way. They occupy an important place in the structure of the activity of an aesthetically educated and well-mannered individual. Products created in the process of this activity act not only as objects of knowledge, but also as driving forces for achieving an aesthetic ideal and motivating creative activity.
The formation of a creatively active personality of a student in the process of his aesthetic training should be the highest form of his introduction to aesthetic enlightenment and culture, social significance and self-worth. Activation of independent aesthetic creativity of schoolchildren, the pinnacle of which is the development of his aesthetic and creative needs, should be based on the powerful pedagogical, psychological, educational and educational potential of the multifunctional formative influence of cognitive aesthetic activity on the individual. It is realized in the process of active theoretical and practical mastery of the surrounding objective world according to the laws of beauty.
Studying the problem of multifunctionality of art - professional, folk, fine, arts and crafts, design (E.A. Antonovich, Yu.B. Borev, R.V. Zakharchuk-Chugaev, G. Zeleper, T.V. Kozlova, M.N. Nekrasova, V.I. Panchenko, M.Yu. Rusin, M.E. Stankevich and others) allows us to highlight the basic principles of activating students’ independent aesthetic creativity in the process of aesthetic education:
Value-oriented active;
Cognitive-heuristic;
Retrospective;
Aesthetic-conceptual;
Communicative;
Informational;
Moral-catarctic;
Compensatory;
Aesthetic;
Hedonistic;
Creative;
Artistic and design;
Technological;
Economic;
Professionally oriented;
Professional development.
The process of intensifying creative activity according to the laws of beauty is realized on the basis of a synthesis of the listed principles. This allows schoolchildren to form a holistic scientific and aesthetic worldview, master the scientific theory and practice of creative transformative activity based on aesthetic principles of the technological application of the laws of nature in achieving the aesthetic ideal, as well as their adaptation to their future profession.
When improving the public education system, the most serious attention must be paid to the forms and methods of labor, moral and aesthetic education in school. All this requires the creation in each school of its own optimal conditions for the deployment of versatile educational work leading to the spiritual flowering of the student’s personality.
Aestheticized conditions of school life have a positive effect on the level of academic performance, discipline and culture of students. On a more general, broader scale, the main task in aestheticizing the living environment comes down to achieving harmony between the “second nature” created by man and natural nature. Now it is becoming increasingly clear that “second nature” only creates optimal conditions for the identification and more complete use by man of the entire spiritual content of the values he creates, when it is, as it were, naturally combined with all the achievements of the past and natural nature.
A.S. Makarenko said in relation to pedagogical practice: “I can’t imagine a group in which a child would like to live, in which he would be proud; I can’t imagine such a group being ugly from the outside. The aesthetic aspects of life cannot be neglected. The aesthetics of a suit, a room, a staircase, a machine is no less important than the aesthetics of behavior."
Currently, proper principles are not implemented in the practices of modern schools.
In school life, in the architectural construction of interiors, in decorating the walls of classrooms and corridors, and in the style of furniture, and in school utensils, the emotional and aesthetic tonality of the decoration should combine intimacy and rigor, a feeling of comfort with the atmosphere of business working life; therefore the layout of school buildings; their design and design of furniture for them and teaching aids are a special task for architects and designers, and the more accurately this task is solved, the more organic and harmonious children feel at school, the more effectively the formation of their aesthetic consciousness is carried out.
It is known that the lesson is the main form of educational work at school. The central place in the labor lesson is the practical work of students. This work is built on the basis of productive labor, as a result of which material values are created. School education should be educational. Raising a harmonious personality, an aesthetically developed person means instilling in a child a whole complex of positive character qualities. In textile processing technology lessons, especially favorable conditions for aesthetic education are created, so this task is one of the main tasks in technology lessons.
A person’s aesthetic education can be judged by his attitude towards work. Anyone who has received the correct aesthetic education will not allow himself to increase labor productivity at the expense of product quality. In each lesson, the educational process should be structured in such a way as to instill in students a love of work. A necessary component of a properly structured technology lesson are didactic tools. They include all the objects and tools used by the teacher and students to more effectively implement the tasks of education.
Scientific research in recent years (Institute of New Education) has shown that people learn 20% of what they hear and 30% of what they see. But they remember more than 50% of what they saw and heard at the same time. Therefore, the use of didactic means when teaching technology seems to be an indispensable condition of the educational process.
There are many different qualifications of didactic tools. For the most part, they take into account the nature of the impact of these means, namely: visual, auditory, audiovisual. Didactic tools should be used in close connection with other elements of the learning process. Their selection depends on the goals, methods of educational work, and the age of the students.
The methodology for using teaching aids necessarily takes into account the psychological characteristics of schoolchildren of different ages.
A technology teacher has to, as an obligatory element of a properly organized lesson, show students either a standard product or a technological map of the sequence of its manufacture.
A technology teacher should strive to ensure that when introducing schoolchildren to tools, it is simultaneously possible to demonstrate their structure and operation. The didactic effect with this combination is much higher.
Particular attention should be paid to such a traditional teaching tool as chalk. In the practice of teaching technology, where a well-executed sketch often removes motives that are incomprehensible to schoolchildren, where graphic literacy is the foundation of professionalism, where visual perception forms spatial imagination, a special manner of working with chalk should be developed.
When selecting an object of work, the teacher must think not only about its compliance with the requirements of the program, but also about the emotions it evokes in students.
Despite the fact that the lesson is the main form of teaching and educational work at school, it is not the only and certainly not a universal form of the teaching and educational process, since a lesson, even the most successful one, has a drawback: it is limited in time and does not allow for distraction, even when the class is keenly interested in the issue, because there is a set plan. A large role in the aesthetic education of students belongs to various types of extracurricular activities, in which the teacher is not bound by strict time and planning frameworks. The effectiveness of extracurricular educational work with students largely depends on the presence of a certain educational system at school. The content and forms of extracurricular work are not something frozen, they are constantly developing and improving, and none of the forms can be considered universal.
Based on many years of experience of teachers and school principals, as well as leaders of extracurricular activities, it can be stated: extracurricular educational work is fraught with truly inexhaustible opportunities for creativity, for awakening interest among schoolchildren, if carried out with soul, love, knowledge of the matter, if constantly updated its forms, techniques, content.
The leader of extracurricular activities must use its leading forms, taking into account the age, individual inclinations and aspirations of the students. This task requires from the teacher not only knowledge of all forms of pedagogical skill, but also aesthetic preparedness, with which the situation is still unfavorable.
Schoolchildren have a great desire to work in the field of artistic work. Advanced teachers should use this desire for the purposes of moral and aesthetic education.
In the process of artistic and labor activity, it is necessary not only to develop in schoolchildren an aesthetic sense, an ideological and emotional attitude to reality and art, but also to form a moral and aesthetic attitude to life and work, and to develop the best moral traits. Beautiful design of the classroom, cleanliness and order in it, properly organized workplaces are of great educational importance. All this disciplines the children, helps to improve their work culture and creative activity.
Aesthetic education of students in the educational field of "Technology" proceeds successfully if the ideas of morality and beauty constantly permeate the work activities of students and contribute to their accumulation of practical experience, the development of creative powers and abilities, and form an interest in work "according to the laws of beauty."
The main condition for aesthetic education in the educational field of “Technology” is: practical activity, the organization of which suggests the formation in schoolchildren of ideas and concepts about the beauty in work, its results, in the relations between participants in labor affairs; education of aesthetic feelings, emotional responsiveness; the presence of collective creative activity.
For the purpose of aesthetic education in the process of teaching students in the educational field "Technology" it is necessary:
First, to expose students to advanced technology, modern technological processes and advanced manufacturing. This motivates schoolchildren to have a value-oriented attitude towards work;
Secondly, involve as many students as possible in work activities. This will help expand students' horizons and develop their creative abilities;
Thirdly, the activity of labor student groups is to help teachers in shaping the public opinion of students and participate in solving problems of labor education and vocational guidance. Forms of labor associations must be chosen taking into account local conditions and opportunities. Physical labor, combined with cultural leisure, will contribute to the development of high moral qualities and healthy needs;
Fourthly, combine socially useful work with technical creativity and experimental work, nature conservation, study of the native land, and labor traditions. In active work, a consciousness of the own value of its results is formed, and the beauty of transformative activity is comprehended.
In order to become teaching and educational, work must not only be effective and productive, but also carry moral satisfaction and evoke aesthetic feelings. Work activity must necessarily be revealed as joy and beauty, otherwise it can turn into a burden and a burden. At the same time, it is necessary to remember that instilling in schoolchildren an attitude towards work as an aesthetic phenomenon should proceed from the needs of society, from the need for work to the revelation and creation of beauty in it.
In order to reveal to schoolchildren the beauty of work, it is necessary to organize the work in which they participate pedagogically.
The organization of work must be systematic and must provide for a number of elements. The first is the goal of work or, as psychologists say, an attitude. Labor organized for pedagogical purposes cannot be imagined outside of social goals and motives. As for the productive work of schoolchildren, its goal is not only the production of a socially useful product or the fulfillment of socially important useful work, but also in simultaneous education and training, in demonstrating the social value of work, in instilling in schoolchildren labor skills and abilities, in the development of personal qualities necessary for communication in a team.
The second most important element of the system of productive work for schoolchildren is its content and process, in the organization of which it is necessary to highlight such pedagogically important elements as the presence of requirements for the creative potential of the student’s personality, the feasibility of work, clarity, rhythm, and formality of its organization. The third element included in the system is the result of labor. As a result of labor, the purpose of work activity, organization, and creative aspirations of the individual are embodied in an indirect form. Based on the result of work, one can judge its organization and the degree of aesthetic development of the individual.
The relationships that arise in the process of labor are a derivative of its goals, process, results and at the same time an independent, fourth element of the system of labor and aesthetic education. The relationships and dependencies that arise in the system of productive labor of schoolchildren are the most important canon for the formation of personal qualities of students. From a pedagogical point of view, the main result of the work process of schoolchildren is the development and formation of human personality traits: hard work, mutual assistance, determination, a creative approach to business, the ability to live and work in a team and for a team.
The result of labor activity is expressed in the completeness of the subject. Man, no matter what he does, always strives for beauty. It is no coincidence that highly qualified workers are called masters, artists of their craft, and their products are called masterpieces.
The student needs to literally discover: everything that a person does has its own shape, composition, color, line, and therefore everything that he himself does can be beautiful and ugly, beautiful or ugly. Any object and any craft has not only consumer, but also spiritual and aesthetic value for a person. When designing the result of labor, a person should think not only about whether this thing is convenient, but also about how it looks. Everything - from the most complex machine tool, airplane and rocket, to a toothbrush can either attract or beckon, arouse the desire to have this thing, or cause rejection, disgust and repel. Therefore, one of the most important tasks of labor education, at the same time as aesthetic education, is to teach not only the skills of good execution of an object, but also a sense of form, color combinations, composition, and symmetry. The law of the unity of labor and beauty is that these are not two artificially connected processes, but two organically interconnected sides. In an effort to make a thing better, more compact, more economical, a person makes it more aesthetically pleasing. At the same time, thinking through the execution of a thing according to the “laws of beauty”, trying to make it more aesthetically pleasing, a person discards everything superfluous, looks for more perfect forms, and makes it more convenient to use. That is, a master technology teacher, mentor, organizer of children’s work activities is responsible not only for teaching a skill, but also for the development of his creative, aesthetic sense, for the child’s understanding of harmony, the processes of creative work and aesthetic creativity. The labor process itself can sometimes be difficult and require great willpower. And then the desire for creativity, the image of beauty that has to be brought to life, can manifest itself as a stimulus for activity.
It is pedagogically appropriate and important to compare, contrast and analyze the results of schoolchildren’s work. It is very important that students themselves participate in evaluating products and various work activities. The very fact of self-assessment and criticism not only develops the independence of the individual, but also teaches one to see more and more deeply the final product of labor from an aesthetic point of view. The teacher does not need such assessment and self-esteem in order to say that one student is doing well and another is doing poorly. It is needed to find something good in everyone, to stimulate their creativity, to advise everyone from a position great experience and knowledge of what could have been done better and more beautifully.
In order to generate a moral and aesthetic attitude among schoolchildren, to actively influence their personal qualities, the labor process must represent a single, holistic, practically clearly and aesthetically consistently organized system, which is an organic part of the complex of ideological, political and moral education.
A personality develops its qualities in the process of business and collective relationships, and relationships improve as a result of personal improvement. Personality only manifests itself in the beauty of its qualities when it is illuminated by the beauty of collective relationships. The more perfect the relationship, the more clearly the personality manifests itself in it. In order for work, by the nature of its business and moral-aesthetic relations, to be educationally effective, the teacher must simultaneously consider both the team and the individual as the goal of education.
Children's relationships in collective work are constantly improving when, firstly, the prospect of work is clearly defined, everyone knows well what is being done and why, when the result of work is socially useful and economically efficient, when work is closely connected with life. Awareness of the importance and social significance of a matter gives rise to awareness of its necessity and responsibility. Firstly, the beauty of relationships is born in a clear organization of work. A clearly organized work system for schoolchildren fosters an aesthetically developed personality. If there is no organization of labor, labor is arrhythmic, downtime occurs, and no attention is paid to marriage, carelessness, irresponsibility, primitive aesthetic tastes and ideas, aesthetic blindness and deafness are fostered. There is a disintegration of relationships with a simultaneous disintegration of personality. Schoolchildren stop showing up to their workplace on time, disappear during working hours, shrug off appeals to their conscience, and do everything “carelessly” while serving their labor service. In the conditions of such relationships, sloppiness flourishes, the children develop laziness, a desire for idleness. Clear organization of business, strict compliance with uniform requirements, strict regime and taking into account what has been done - all this gives rise to a relationship of mutual exactingness and collective responsibility, organization and discipline, creative aspiration and friendly mutual assistance.
Comradely, friendly relations become the solid foundation of the team - labor business relations. The beauty of the organization of work and the clarity of work affairs strengthen the best personal qualities in the student and give rise to the moral beauty of the individual. The whole point of the pedagogical organization of labor is precisely to not only increase social wealth, and develop students’ work skills and diligence, and, above all, to form and improve the moral beauty of the individual.
In practice, some teachers, carrying out aesthetic education in work, strive to awaken the aesthetic feelings of schoolchildren only to the pedagogical goals of work. They talk about the romance of a particular profession, about serving people and society. And this is of course important. But the lack of development of the aesthetic aspects of other elements of the system of productive labor for schoolchildren leads some students to think of work only as a duty or even a sacrifice. Other technology teachers, excellent masters of their craft, believe that the main thing is the process of mastering skills, accuracy and clarity of execution. It's a pleasure to look at them while working. Their movements are precise, rhythmic, and confident. And the children become infected with the beauty of human action, movement, and creativity. But not all types and stages of labor have a sense of beauty. This functional approach gives rise in some children to the desire and desire to engage only in that type of work that attracts and aesthetically pleases with its content, and to avoid those types that have little aesthetic potential. Still others, teachers and craftsmen, believe that the main utilitarian and aesthetic goal of the labor process is its final result. The fourth teachers generally believe that the labor process develops on its own and the main thing is to ensure that the children help each other, showing care and kindness.
But the relationships between schoolchildren in the labor process are a derivative part of the organization of an integral process. The work activity of schoolchildren cannot be an effective moral and educational tool if it does not represent an integral pedagogical meaningful system. Moreover, aesthetic education in work is not possible only with the help of a separate element of the system.
Aesthetic education of schoolchildren in work can only be effective if there is an integrated approach to the entire work system in school. In other words, each element of the pedagogical system of students’ work in the classroom, in socially useful, productive work must bear an aesthetic load in a close organic relationship with other components of the system: the goal of work - with its process, the process - with the result, the result - with personal relationships, relationships - with the qualities of the emerging personality. It is necessary to keep in mind that the beauty of each element of the labor process system is not some special abstract of beauty inherent in this element. To correctly understand and pedagogically effectively use the beauty of each element of the schoolchildren’s labor system in their unity is possible only by simultaneously revealing the beauty of all elements of the labor process, their ideological, political and moral significance. Any work activity of schoolchildren, its purpose, process and result must be accompanied by the desire for beauty, crowned with it and delivering aesthetic pleasure. Educational, socially useful, productive work - in everything it is necessary to awaken in students the need for beauty and the need for creativity, “according to the laws of beauty.” At the same time, the desire for beauty should act not only as a desire for aesthetic pleasure, but also as a desire to produce a thing of high quality, an integral part of which is beauty. Thus, nurturing the desire for beauty in work is the task of not only aesthetic, but also production, economic education, the formation of the desire for highest quality, the most skillful and perfect execution of any task.
When starting work, schoolchildren should have a joyful perspective and an attitude towards work, about its beauty, not only who will do more, but also who will do the job more beautifully, better document the results of work, and put their workplace in order faster. If work activity in a team is organized as a competition, one of the most important accounting indicators should be beauty. It is she who encourages children to be creative in the process of work.
The aesthetic value of a specific goal of a work task is also ensured by setting an internal perspective for students. Often, children do not always clearly understand what work provides directly for the formation of their personality. And the return is great, and, above all, in the sense that work allows him to establish himself as an individual, to feel strong, dexterous, skillful, powerful, to show off the beauty of skillful work. Children, especially teenagers, are very proud of any of their skills, seeing in this their approach to adulthood, receiving aesthetic satisfaction. In addition, every labor success is a victory, it is overcoming external and internal obstacles, overcoming difficulties and one’s own weaknesses. And this always gives rise to great joy in a person, including aesthetic joy. Finally, acquiring skills in a particular activity and fluency in it create the most favorable conditions for free creativity and self-expression.
Mastery of skills gives rise to dexterity in movement, develops intuition, skillful distribution and economy of forces, a sense of one’s own mastery, relaxedness, self-confidence and self-confidence. Such self-affirmation can only be achieved through work.
Schoolchildren can only vaguely sense all this within themselves, without giving a full account of what is happening. It is the technology teacher who must reveal to the child the mystery of competition in him, show their aesthetic essence and use them as an additional incentive for work activity.
The focus on a specific task in the process of schoolchildren’s work also pursues purely aesthetic goals. Living in a world of beauty, a schoolchild often does not see or hear it. He often perceives the colorful world in black and white precisely because he does not have the mindset for color perception, and he does not hear the music of the forest or field or perceives it as a simple background, since he does not have the mindset for listening to music. Meanwhile, seeing, feeling, perceiving the beauty of the world would not only give him immediate aesthetic pleasure, but would also bring new forms and colors to the treasury of creative activity. That is why, when giving instructions for a specific work task, wherever possible, it is important to encourage the child to cultivate in himself the perception of the forms he has seen in nature, beautiful subtle combinations of colors, models for constructing certain structures. In addition to the direct installation, it is necessary to orient schoolchildren to search for beauty in the world around them in order to accumulate visual images that can be used in future work.
Admiring the beauty of nature, reality, and the creations of human hands is not an idle activity, but spiritual life, a manifestation of the greatness of the human spirit, which encourages work and creativity.
The process of aesthetic orientation in teaching schoolchildren fabric processing technology covers the intellectual, emotional, volitional, value-oriented aesthetic aspects of the harmonious formation of personality in work, the result of which is the creation of a useful and beautiful thing. According to V. A. Sukhomlinsky, “beauty ennobles a person only when he works.” In technology lessons, where the task is to ensure the unity of aesthetic and labor activity of students, to reveal to them the beauty of the thing being created, ways to achieve harmony in the composition of clothing through visual, design and technological techniques, the essence of caring for fabric and other materials as objects of nature, show how to use artistic images borrowed from the beautiful flora and fauna. This means using in technology lessons the teachings of the Pythagoreans about the harmony of the world and the universe (5th century BC), general philosophical issues of nature and art of Aristotle (367-347 BC), problems of the state approach to the use of art in the upbringing and education of the younger generation by Plato (347 BC), scientific treatises on ethics and aesthetics by Socrates (470 - 399 BC), theories on the relationship between nature and art by Leonardo da Vinci (15th century) , his law of proportion and the “golden section” and other immortal discoveries of great men of mankind.
The educational field "Technology" contains a significant pedagogical aspect of aesthetic, economic, environmental education and upbringing of students. Very important in food processing technology classes is the implementation of the aesthetic orientation of the learning process, the main task of which is the formation and development of creative, aesthetic inclinations in inextricable connection with general scientific, technological, design knowledge and skills, labor skills in modeling and design. The manifestation of such inclinations is the development of the spiritual principle in the student’s attitude to completing tasks on a topic in conjunction with the most important realities of his inner world (moral guidelines, aesthetic taste, ability to search - creative, emotional states, etc.). Such activities have a large educational and educational aspect. Thus, aesthetic education and upbringing is not just “raising in children an emotional perception of the environment and the ability to notice the beautiful and enjoy it” and “the development of children’s perception, feelings, ideas and artistic and creative abilities in children,” as stated in the formulations given by E. A. Flerina, O. A. Apraskina and other authors, and this is a purposeful process of forming aesthetic qualities in schoolchildren (aesthetic interests, needs, abilities to perceive, evaluate, create beauty, beliefs) which is part of the aesthetic and general development of the individual. The essence of this process is revealed in the works of such teachers as V. A. Sukhomlinsky, A. G. Kovalev, N. S. Leites, G. S. Kostkzh, S. A. Anechkin, S. T. Shatsky and others.
The student’s personality, formed under the combined influence of such components as: aesthetic theory, laws of composition, the natural and social world, equipment and technology, works of art and aesthetically valuable products, personal activity, ensuring the interaction of aesthetic, structural-technological, economic and other qualities of the subject of work - gets accustomed to creativity according to the laws of beauty, is enriched with aesthetic knowledge, and is filled with readiness for socially significant practical activities.
Aesthetic education in technology lessons
The comprehensive approach to education carried out by the school creates conditions for the most complete identification of the interests, inclinations, and abilities of schoolchildren. Incorporation into socio-cultural, moral, aesthetic, environmental and professional values is necessary for self-realization in the labor sphere and other areas of life. Aesthetic education plays a major role in training and education.
1. Aesthetic education is understood as the purposeful formation in a person of his aesthetic attitude to reality.
^ The goal of aesthetic education in technology lessons is the formation of a comprehensive developed personality capable of perceiving, feeling and appreciating beauty in the process of work.
The main idea of aesthetic education is understood as the education of the foundations of aesthetic culture and the development of artistic abilities; providing every child with opportunities to express themselves in artistic activities, work, enrichment with aesthetic knowledge, and improvement of skills.
The lessons set the tasks of aesthetic education:
1. creation of a certain stock of elementary aesthetic knowledge and impressions, without which inclination, craving, and interest in aesthetically significant objects and phenomena cannot arise;
2. formation, on the basis of acquired knowledge and development of artistic and aesthetic perception abilities, of such social and psychological qualities of a person that provide the opportunity to emotionally experience and evaluate aesthetically significant objects and phenomena, to enjoy them.
These tasks give a positive result only if they are closely interconnected in the implementation process. To implement the tasks of aesthetic education of school-age children, certain conditions are necessary, in particular a developmental environment.
It has an impact on the child that in its strength and significance can hardly be compared with others. If the environment is aesthetic, beautiful, if a child sees beautiful relationships between people, hears beautiful speech, such a child from an early age will accept the aesthetic environment as the norm, and everything that differs from this norm will cause him rejection. Details of the aesthetics of everyday life: furnishings, the beauty of people between people, a person’s appearance.
In recent years, attention has increased to the problems of the theory and practice of aesthetic education as the most important means of developing an attitude towards reality, a means of moral and mental education, i.e. as a means of forming a comprehensively developed, spiritually rich personality. The system of aesthetic education is designed to teach you to see the beauty around you, in the surrounding reality.
Making beautiful and necessary objects with your own hands arouses increased interest in work and brings satisfaction with the results of work, arouses the desire for subsequent activities.
2. Aesthetic education in technology lessons is based on the development of interest and creative capabilities of schoolchildren. Technology lessons are different from other lessons. It is closer to life, everything that you have studied can theoretically be made your own, but any business requires students to know aesthetic laws. I select all educational products taking into account a number of psychological characteristics of the students, since only in this case does interest arise and motivation for further educational and cognitive activities arises. I select all objects of labor in such a way that they are as informative as possible from the point of view of polytechnic education, have aesthetic appeal, and give an idea of traditional artistic types of material processing. For many years, students have been taking part in competitions, olympiads, exhibitions, and winning prizes. I, as a technology teacher, also take part in teachers’ CPD.
Aesthetic education in the process of students mastering relevant technologies will be carried out more successfully when using the capabilities of modern computer software. The computer has entered the life of the lesson. Students prepare presentations and projects. The teacher advises. Aesthetic education influences the development of artistic taste, spatial imagination, abstract thinking, and eye. In the process of creative work, it allows you to solve problems of personality development, the formation of a creative attitude to work and the problem of choosing a profession. Assessing the role of aesthetic education in the development of adolescents, in general, it can be argued that it contributes to the formation of their creative potential, having a diverse positive impact on the development of various properties included in the creative complex of the individual. The works highlight the aesthetic principle - the necessity of the item, color combination, neatness, high-quality execution of the product. Project activity in technology lessons is the main factor in the formation of aesthetic culture. Currently, project activity is an independent type of activity, which can be mastered not spontaneously at the everyday level, but purposefully, in the process of organized learning. It is necessary to teach the student to feel beauty at all stages project activities. In my work with students, I use Internet resources, books, and magazines.
3. As a teacher, I am especially interested in the problem of artistic and aesthetic education of students. It is aimed at developing in children the ability to feel and understand beauty in nature, art, and developing artistic taste. From this point of view, I consider the relationship between the educational fields of “Technology” and “Art” to be fruitful. I consider the objects of labor performed in technology lessons as a means of artistic and aesthetic education of schoolchildren. In most cases, these products have practical applications. Knowledge of the “laws of beauty” allows you to create things that have your own style and artistic image. Making useful and beautiful household items and clothing with your own hands makes technology lessons interesting and useful in the eyes of students.
4. Lessons have been developed in the mode of effective pedagogical technology of the aesthetic direction; they take into account the tasks of the aesthetic direction. One of the main conditions for the full aesthetic development of children is the formation of their artistic abilities.
Aesthetic education in technology lessons is carried out in different forms depending on the principle of guiding their activities, the method of uniting schoolchildren, and the type of activity.
Sometimes it is clear from appearance at what level the student is familiar with the laws of aesthetics. Without damaging your peace of mind, we gradually find the path to beauty. I suggest topics for conversation. “What color suits me?”, “Breakfast, lunch, dinner”, “My home is my fortress”, “Beauty is always in fashion”, “Holiday in your home”.
A significant role in the aesthetic education of schoolchildren is played by their involvement in participation in school, district, regional, and regional competitions. It is at competitions that all the harmony of students’ work is visible
5. The dynamics of the results of using educational technology in practice has a positive growth. Over the years, my students have participated in various competitions and Olympiads and have achieved:
Conclusions: When conducting technology lessons, the teacher has the opportunity to systematically and consistently form in students an aesthetic attitude towards work, which, first of all, is manifested in the high-quality performance of tasks and work culture.
This work has prospects for development, namely the creation of educational and methodological complexes for various types of handicrafts, containing theoretical material, objects of project activity and diagnostic methods.
UDC 372.8 E. I. Chernysheva
BBK 74.2 Associate Professor, Candidate of Pedagogical Sciences
A. V. Grabarova Student
PEDAGOGICAL CONDITIONS OF EMOTIONAL-AESTHETIC EDUCATION OF JUNIOR SCHOOLCHILDREN IN TECHNOLOGY LESSONS
This article discusses the issue of identifying and implementing pedagogical conditions for the emotional and aesthetic education of junior schoolchildren in technology lessons. An analysis of the problem in pedagogical practice is carried out, pedagogical conditions are identified that contribute to the emotional and aesthetic education of junior schoolchildren in technology lessons, and the influence of the use of the developed pedagogical conditions on the level of emotional and aesthetic education of junior schoolchildren is experimentally tested.
Key words: technology, emotional and aesthetic education,
pedagogical conditions.
E. I. Chernysheva Associate professor, Ph.D. in pedagogy
A. V. Grabarova Student
PEDAGOGICAL CONDITIONS EMOTIONALLY AESTHETIC EDUCATION OF THE YOUNGER SCHOOLCHILDREN IN THE LESSONS OF TECHNOLOGY
This article discusses the question of identifying and realizing pedagogical conditions of emotionally aesthetic education of the younger schoolchildren in the lessons of technology. The problem is analyzed in teaching practice reveals pedagogical conditions conducive to the emotionally aesthetic education of the younger schoolchildren in the in the lessons of technology, experimentally investigate the impact of the use of the developed pedagogical conditions on the level of the emotionally aesthetic education of the younger schoolchildren.
Key words, technology, emotional and aesthetic education, pedagogical conditions.
The changes that have occurred in our country in recent years have determined a new social order of society for the activities of the education system. In connection with the new requirements of the Federal State Educational Standard for Primary General Education, in order to educate a comprehensively developed personality of a junior schoolchild, the teacher needs to pay attention to emotional and aesthetic education, to form aesthetic needs, values and feelings.
A child’s aesthetic assimilation of reality is not limited to activities in the field of art alone: in one form or another it is present in all creative activities. Aesthetic development of personality begins at an early age. It is very difficult to form aesthetic ideals and artistic taste when the human personality has already taken shape. It is necessary to pay special attention to the emotional and aesthetic education of school-age children, starting from primary classes. Technology lessons have great creative potential, as well as educational and developmental opportunities that must be implemented in the pedagogical process. In this regard, the role of teachers is increasing, who, while carrying out the educational process, competently solve educational problems, including the tasks of aesthetic education of younger schoolchildren. But an analysis of practice and a survey of primary school teachers showed that teachers often do not fully realize the importance of emotional and aesthetic education of junior schoolchildren in the learning process, therefore the educational potential of technology lessons remains unrealized.
Thus, the current problem of pedagogical theory and pedagogical reality, the need to solve it, determined the topic of our research: “Pedagogical conditions
emotional and aesthetic education of junior schoolchildren in technology lessons.”
The purpose of the study is to identify the pedagogical conditions for the emotional-aesthetic education of junior schoolchildren in technology lessons and test their effectiveness.
To realize the purpose of the study, we put forward the following hypothesis: the process of emotional and aesthetic education of junior schoolchildren will be effective if certain pedagogical conditions are identified and implemented.
In the theoretical part of the work, we defined the concept of “emotional-aesthetic education”, based on the definition given by D. B. Likhachev: “Emotional-aesthetic education is
a purposeful process of forming a creative personality capable of perceiving, feeling, evaluating and creating beauty.” We also highlighted the main provisions that speak about the essence of emotional-aesthetic education:
This is a process of targeted influence;
This is the formation of the ability to perceive and see beauty in
art and life, evaluate it;
This is the development of the ability for independent creativity and creation of beauty;
The task of such education is the formation of aesthetic tastes and ideals of the individual.
Theoretical analysis and empirical research made it possible to identify the following main pedagogical conditions that contribute to the aesthetic education of primary schoolchildren in technology lessons:
1) the presence of premises conducive to work, the aesthetics of the workplace, a properly organized working environment, the aesthetics of behavior, speech and appearance of the teacher and students;
2) choice of object and purpose of work, aesthetic analysis of objects; formation of an emotional and aesthetic attitude towards the object of labor.
3) implementation of interdisciplinary connections, including relationships with fine arts, music, literature, and the outside world;
4) development and use of a system of tasks aimed at developing aesthetic perception.
At the stage of the formative experiment in the experimental class, we put into practice the identified pedagogical conditions of emotional-aesthetic education.
In technology lessons, we sought to create a certain atmosphere conducive to the emotional and aesthetic education of junior schoolchildren: in the experimental class, the emphasis was on creating an aesthetic classroom environment, the teacher at each lesson carefully monitored the order in the workplace, the correct use of materials and the selection of colors, aesthetically combined with each other, safe handling of tools and the process of creative activity of younger schoolchildren. We offered an option for the aesthetic design of the office: colorful posters with technical rules
safety, bright instructional and technological cards. For some lessons, the classroom was decorated in a certain style. For example, for the production of Matryoshka dolls, the class was decorated in the style of a Russian hut: decorated with scarves, and a large poster with a depiction of a stove and household utensils was placed near the board.
The permanent exhibition of student work also contributed to the creation of an aesthetic learning environment.
Aesthetic education in technology lessons is largely related to the choice of object of labor. Its effectiveness will depend on how methodically correctly the teacher organizes it, how actively he attracts schoolchildren to participate in the selection of the object of labor, and what requirements he places on the product intended for production. Pedagogical task when setting an aesthetic goal - to create in schoolchildren an emotional and aesthetic attitude towards the object of labor and awaken (or strengthen) the desire to create a beautiful object. For this purpose, a conversation was held at one of the lessons, during which students expressed their wishes regarding the choice of an interesting object of work for the next lesson. Thus it was defined: a three-dimensional composition made from natural materials.
The task of aesthetic analysis is to give a detailed aesthetic assessment of the product in verbal form. In a lesson on the topic “Modeling a flower from clay,” the teacher, at the stage of analyzing the finished product, tried to draw attention to it, to its beauty, elegance, to lead younger schoolchildren to a deep understanding of its features, to develop an aesthetic attitude towards the flower, creating a more accurate and meaningful idea of beauty products.
In the lesson “Volume application “Bouquet of Roses” we created roses from paper napkins, where the emphasis was on understanding the relationship and interdependence of color and color solutions. The following techniques were used: comparison, classification, mental creation
own crafts by name.
In the lessons, we tried to widely use interdisciplinary connections with fine arts, music, literature, and the surrounding world, which contributed to students’ greater interest in the topic of the lesson, emotional perception, and the creation of an aesthetic environment.
A system of tasks was developed to promote the emotional and aesthetic education of younger schoolchildren. For example, the task “Look and Tell.” Its goal: to teach to see the expressiveness and beauty of shapes and lines in the surrounding nature. Students are offered a trip to a magical, enchanted forest. The forest is the veins of marble in the drawing; by looking at them, the guys, each on their own and at the same time sharing their “discovery” with others, look for fairy-tale characters, silhouettes of animals, monsters, etc.
During the lesson on making appliqué from natural materials, we used the task of “transforming” leaves. In dried leaves, not
When cutting, you had to see, for example, the silhouette of a fish or an animal, or see a tree in the veins of a leaf.
The ability to see familiar or fantastic images in unfamiliar outlines or designs prepares children to perceive works of applied art - ceramics, embroidery, patterns on fabric.
As a result of our research, we identified changes in the level of emotional and aesthetic education among younger schoolchildren in the experimental group. Students showed a higher level of aesthetic perception, the presence of new knowledge and the ability to apply it in practice. Their works have become more aesthetically pleasing, with correct color combinations, well-structured composition, and more neat. The children liked the unusual design of the office, related to the topics of the lessons, they were actively involved in creative work, and learned how to perform an aesthetic analysis of objects. Students received complete freedom of expression. Their attitude towards the object of labor changed, it became more careful, the students tried to complete the work as aesthetically as possible.
We managed to achieve the goal of the work, to show that the use of pedagogical conditions for the emotional and aesthetic education of primary schoolchildren in technology lessons is effective.
The conducted research generally confirmed the hypothesis put forward: the implementation of the identified pedagogical conditions contributes to the effective implementation of the process of emotional and aesthetic education of junior schoolchildren in technology lessons. The knowledge obtained as a result of the study will be useful to teachers to provide emotional and aesthetic education in primary schools.
LITERATURE
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Information about the authors Elena Ivanovna Chernysheva (Russian Federation, Voronezh) - Associate Professor, Candidate of Pedagogical Sciences, Associate Professor of the Department of Technological and Natural Sciences. Voronezh State Pedagogical University. Email: [email protected]
Grabarova Anna Vladimirovna (Russian Federation, Voronezh) - 5th year student of the Faculty of Psychology and Education. Voronezh State
Pedagogical University. Email: [email protected]
Information about the authors
Chernysheva Elena Ivanovna (Russian Federation, Voronezh) - Associate professor, Ph.D. in pedagogy, associate professor in the Department of technological and natural-science disciplines. Voronezh state pedagogical university. Email: [email protected]
Grabarova Anna Vladimirovna (Russian Federation, Voronezh) - 5th year student of psychological-pedagogical faculty. Voronezh state pedagogical university. Email: [email protected]
Recently, several publications devoted to pedagogical conditions have appeared on the pages of the Pedagogy Today magazine. One of them states that “an analysis of modern psychological and pedagogical literature indicates that about nature
pedagogical conditions for uniform scientific provisions accepted by all scientists have not been developed.” In philosophy, the term “condition” is interpreted as a category expressing the relationship of an object to the phenomena surrounding it, without which it cannot exist; conditions constitute the environment, the situation in which the phenomenon arises, exists and develops. In the “Dictionary of the Russian Language” S.I. Ozhegov, a condition is understood as “a circumstance on which something depends.”
L.A. Miroshnichenko defines the concept of “condition” as a circumstance. But the conditions do not deny the possibility of their construction. However, an objective circumstance can not only be predicted, it can be taken into account. And then the question arises: is taking into account the factor a pedagogical condition? According to our ideas, it is, moreover, a decisive condition, because without it all other conditions lose their meaning. So, if we do not take into account the factor of the current state of society and its requirements for the student, how can we develop the theoretical and practical aspects of his training and education? Or the specifics of the academic subject? This is also an objective factor, but without taking this factor into account, it is impossible to develop training courses, programs, etc. Any phenomenon is caused by external and internal factors or given factors and constructed factors. We do not construct external or given factors, but we take them into account. And taking them into account is a general pedagogical condition. Taking into account external factors ensures setting goals and determining the content of the discipline, determining the requirements for the level of mastering the program - what Yu.G. Tatur refers to the conditions pedagogical design.
A detailed analysis of the essence of the category “pedagogical conditions” is presented in the works of Doctor of Pedagogical Sciences B.V. Kupriyanov. The author considers pedagogical conditions as specially created circumstances, components of the pedagogical process, which are external to the process of changes in the student’s personality. We will adhere to this definition in our study. At the same time, it is significant that the category of “pedagogical conditions” is closely related to the category of “regularities of the pedagogical process”, interpreted as connections between intentionally created or objectively existing conditions and achieved results, where the results are training, education, and development of the individual in its specific parameters .
Taking this into account, the author considers it possible to consider pedagogical conditions as one of the aspects of the pattern of the educational process. As a result, it was possible to discover seven variants of the formulation of pedagogical conditions, which were conventionally named:
- - “Characteristics of the child” (schoolchild, pupil, etc.);
- - “Characteristics of the subject of pedagogical activity” (teacher, teaching staff, head of an educational institution, etc.);
- - “Activities of children (child)”;
- -“Attitude of children (child) to activities”;
- - “Internal environment of an educational institution”;
- - “The environment external to a given educational institution and interaction with it” (other educational institution, family, public organizations, etc.);
- - “Pedagogical activity - management of activities, relationships, environment, regulation of the child’s states.”
The author considers these blocks to be components of the educational process, B.V. Kupriyanov points out that when determining pedagogical conditions when studying the effectiveness of a pedagogical means, pedagogical conditions are characteristics of the means itself. In other words, pedagogical conditions of effectiveness represent the properties of pedagogical support. In this case, three aspects of such a component seem most obvious: pedagogical activity:
- - pedagogical activities aimed at the activities of students (selection of content, forms, organization, etc.);
- - pedagogical activities that contribute to increasing the subjective significance of educational activities for the student;
- - pedagogical activity, which involves managing the life of an educational organization (interpersonal relationships, subject-aesthetic environment, symbols of the child-adult educational community).
Thus, pedagogical conditions are a purposefully created situation (environment), in which a set of psychological and pedagogical factors (attitudes, means, etc.) are presented in close interaction, allowing the teacher to effectively carry out educational or educational work.
For the analysis of pedagogical conditions, it seems important to highlight I.P. Podlasym of four general factors that collectively determine the formation of the products of the didactic process. He includes among them:
- - educational material;
- - organizational and pedagogical influence;
- - student learning ability;
- - time .
Obviously, students' learning ability and time are factors that we cannot influence due to the fact that they are predetermined. The time allocated for studying a certain discipline is set by the standard, and learning ability is the given fact with which we are dealing. However, we must take these factors into account. It should also be taken into account that learning ability is a changing and dialectical factor, since, while changing the educational process in a certain way, it at the same time changes during this process. Thus, of the four general factors listed above, two can be directly constructed: educational material and organizational and pedagogical influence. Organizational and pedagogical influence includes teaching and learning methods, organizational forms, practical use of acquired knowledge and skills, teaching aids, educational process equipment, etc.
If the conditions associated with external factors make it possible to see a certain problem in the pedagogical space and dictate the need to solve it, then the constructed conditions make it possible to solve this problem. In our case, these will be the pedagogical conditions for the aesthetic education of schoolchildren. By pedagogical conditions for aesthetic education of schoolchildren we mean the opportunities purposefully used by the teacher educational process and specially organized circumstances that contribute to the formation of a decent level of aesthetic culture of the student.
The effectiveness of the process of forming aesthetic education in technology lessons is determined by the following pedagogical conditions we have identified: didactic, organizational, psychological and pedagogical.
Didactic conditions are circumstances of the pedagogical process specially created by the teacher, under which the procedural components of the teaching system are optimally combined.
These include:
- -selection of certain forms, means and methods of teaching, as well as methods and forms of control over knowledge acquisition (simulators, tests, interactive educational computer programs, etc.);
- -development and application of special tasks that contribute to the mastery of aesthetic concepts and skills in the course of studying an academic discipline;
- -development and application of a system for assessing knowledge, skills and abilities of schoolchildren.
Organizational conditions are the circumstances of the learning process necessary for the formation of aesthetic education of schoolchildren, each of which is implemented through a certain type of activity.
We have defined the following organizational conditions:
- -orientation towards creative activities aimed at creating and transforming new information, presented in the form of new tasks and involving self-organization (creation of creative projects, independent activities outside of school)
- -resource support for the process of developing students’ aesthetic skills;
- - purposeful management of the cognitive activity of schoolchildren using special teaching methods, by monitoring its effectiveness.
Psychological and pedagogical conditions are the circumstances of the learning process that presuppose emotional comfort and a favorable psychological climate in the team, characterized by mutually respectful communication and coexistence between the teacher and students. This includes pedagogical tact, the creation of a “success situation”, and team cohesion, as well as the implementation of diagnostics of schoolchildren’s development, a system for stimulating learning motivation, and the reflective-evaluative stage of each lesson.
Introduction
The relevance of research. The problem of forming aesthetic education of students is especially relevant today. This is due to the fact that in modern Russian society The functioning of educational institutions, the media, youth public associations, as well as the sociocultural life of young people in general has changed significantly.
Aesthetic education in technology lessons, the task facing a modern educational school is the education of a harmoniously developed personality. Aesthetic education plays a significant role in the formation of a harmoniously developed personality. Currently, the most important task, as indicated in the Main Directions of the Reforms of secondary and vocational schools, is to significantly improve the art education and aesthetic education of students. It is necessary to develop a sense of beauty, to form high aesthetic tastes, the ability to understand and appreciate works of art, historical and architectural monuments, the beauty and richness of our native nature. It is better to use for these purposes the capabilities of each educational subject, especially literature, music, fine arts, labor training, aesthetics, which have great cognitive and educational power.”
Research topic: “Aesthetic education of students in technology lessons”
Purpose of the study: To determine the importance of implementing educational tasks in aesthetic education in technology lessons.
Research objectives: 1) Analyze the psychological, pedagogical and methodological literature on the research problem.
) Summarize practical experience in aesthetic education of students in technology lessons.
Research base: Municipal educational institution "Slonovskaya secondary school", Sharlyk district, Orenburg region.
Research methods: Analysis of theoretical and methodological literature, summarizing, studying and summarizing teaching experience, observation, conversation.
Chapter I. Theoretical aspects of the formation of aesthetic culture
1 Development of aesthetic education in Russia
Aesthetic education is a purposeful process of forming a creative personality capable of perceiving, feeling, appreciating beauty and creating artistic values (B. T. Likhachev)
Aesthetic education, its problems and individual elements are reflected in the works of many outstanding Russian teachers, including N.A. Bobrovnikov, N.F. Bunakov, V.P. Vakhterov, V.I. Vodovozov, L.N. Tolstoy, K.D. Ushinsky.
The Russian system of aesthetic education first declared itself at the official level in 1899, when the Minister of Public Education N.P. Bogolepov recognized the need for school reform and took part in the development of its main provisions. In the section “aesthetic education” it was noted that the curriculum of secondary schools of the Ministry of Public Education has changed significantly. The scope of aesthetic education has expanded.
Much attention was paid to aestheticizing the environment. It was recommended to pay attention to interdisciplinary connections. In order to turn nature into an “aesthetic element of education,” it was proposed that each school should have a private plot, a garden, and decorate classrooms with indoor flowers.
The result of proper aesthetic education in this document was called “the development of creative imagination, thanks to which a person, through the perception of artistic images... gains the ability to be transferred to the realm of illusions.”
From the position of the teacher, methodologist and writer of the late 19th century V.P. Ostrogorsky, aesthetic education is “the education of imagination and feelings in connection with the development of the mind in order to cultivate in a person a special permanent mood - interest and taste for life, the ability to find pleasure in it in the contemplation of the graceful in art and in people, the desire for self-improvement through noble deeds.” Aesthetic education for V.P. Ostrogorsky is the cultivation of a person in the love of beauty, in a continuous active striving for it and, moreover, for a moral ideal.
The goal of aesthetic education is “to make a person as happy as possible, and at the same time not only... useful, but also pleasant for others, lively and social.”
The problems of aesthetic education in Soviet times were actively developed in theory and practice by such teachers as V.S. Bibler, L.S. Vygotsky, I.P. Ivanov, A.S. Makarenko, V.A. Sukhomlinsky.
From 1918 to the mid-1960s. aesthetics at school rejected cultural principles. Concepts such as “cultural era” and “artistic style” were not included in the sphere of aesthetic education: the first was endowed with socio-political meaning and, under the guise of a formation, was studied in history lessons, the second, at best, was briefly touched upon by language arts teachers. Aesthetic education, distant from theory and culture, was oriented towards practical interests. Issues of ethics and labor discipline, aesthetics of behavior, which includes manners, appearance, activities, communication, and human actions, culture of life and persistent ideology were summed up in the phrase “aesthetic education,” and the appeal to everyday life prevailed over the appeal to art itself. Attempts to systematize this diverse focus consisted of considering the general principles of aesthetics and the simplest analysis of individual works of painting and music.
Second half of the 1980s. - a period when the boundaries that in theory and practice separated art education from aesthetic education were completely erased for most teachers. The ideas of humanization and humanization of education, an integrated approach based on the interaction of various types of art contributed to the formation of aesthetic education as part of any (ideological, mental, moral, labor, physical) education. Teachers began to more actively stimulate the creative activity of children; theorists recognized the development of imaginative thinking, different from conceptual thinking, as the most important function of aesthetic education.
We believe that in pedagogical works at the turn of the XX-XXI centuries. The most promising trends have become the bringing together of the rational and emotional principles, the intensification of the mental activity of students, and encouraging them to be creative with the aim of diversified personal development.
Educational readiness, according to scientists, arises as a result of upbringing, training, and is lost from detrimentation, and therefore “increasing neuropsychic connections can be achieved by pedagogical methods, through exercises (training); their gradual complication; diversity of content - reflection in them of an objective and subjective picture (image) of the world; their chaotic and systematic presentation; expansion and deepening of the basis - basic knowledge." At the same time, assimilation is facilitated if learning is carried out from the perspective of development and the active inclusion of the sensory sphere and emotional intelligence.
Today, the tendency of research to purposefully merge the rational and sensory-emotional principles in the process of life is so strong that the concept of emotional intelligence comes to the fore. The all-encompassing effect of aesthetics, its enormous radius, gives rise to the need to consider a new concept - aesthetic space.
In our understanding, aesthetic space is the extent of aesthetic interactions that appear to the child every day in a variety of material and spiritual forms, Fig. 1
Figure 1. Model of aesthetic space
Legend: 1- personal aesthetic space, 2- activity aesthetic space, 3- social aesthetic space, 4- territorial aesthetic space, 5- chronological aesthetic space.
Personal aesthetic space includes the aesthetic features of a specific individual. This sphere of aesthetic space is closely related to the child’s self-concept.
The activity-based aesthetic space represents the practical implementation of the previous sphere in study, work, play, sports, communication, creativity, being a connecting link between the individual and society.
The sphere of social aesthetic space is formed by all social phenomena that surround the student in the course of his various activities (family institution, educational institutions, politics, ideology, religion, morality, science, art).
Territorial aesthetic space is a historical and cultural concept of the era, being the most extensive aesthetic sphere.
The historian of development and the main impetus for the formation of aesthetic culture has traditionally considered need. In our opinion, Soviet pedagogy made a conceptual mistake when it exaggerated the role of the student’s aesthetic needs, insisting on the primacy of the child’s desire for beauty. Only in the 1980s. The researchers come to the conclusion that in the aesthetic development of a person, “the starting point is a certain level of aesthetic awareness,” and not at all a need.
Aesthetic education is inextricably linked with labor education. “It is impossible to imagine... labor education without knowledge of the beautiful in the goals, content and process of labor..., at the same time, it is impossible to imagine aesthetic education, divorced from active creative activity and the struggle to achieve ideals.”
1.2 The role of aesthetic education in the comprehensive development of personality
The concept of aesthetic education is organically connected with the term “aesthetics,” which denotes the science of beauty. The word aesthetics itself comes from the Greek aisthesis, which translated into Russian means sensation, feeling. Therefore, in general terms, aesthetic education refers to the process of forming feelings in the field of beauty. But in aesthetics, this beauty is associated with art, with the artistic reflection of reality in the consciousness and feelings of a person, with his ability to understand beauty, follow it in life and create it. In this sense, the essence of aesthetic education is the formation in students of the ability to fully perceive and correctly understand the beauty in art and life, the development of aesthetic concepts, tastes and ideals, and the development of creative inclinations and talents in the field of art.
Aesthetic education is carried out through art. Therefore, its content should cover the study and introduction of students to various types of art - literature, music, fine arts. An essential aspect of aesthetic education is also the knowledge of beauty in life, in nature, in the moral character and behavior of a person.
An equally important aspect of the content of aesthetic education is its focus on the personal development of students. The most important element of the content of aesthetic education is the development of artistic perceptions in students. These perceptions must cover a wide range of aesthetic phenomena. It is necessary to teach students to perceive beauty not only in literature, fine arts and music, but also in nature, as well as in life around them.
An important place in the content of aesthetic education is occupied by the formation in students of high artistic tastes associated with the perception and experience of beauty. Nurturing diverse aesthetic needs is a necessary condition for the spiritual wealth of the individual. Therefore, the direction of interests in all the main aesthetic aspects of life is a measure of how complete a person is aesthetically. That is why it is the quantitative indicator of objects aesthetically perceived by a schoolchild that indicates his aesthetic maturity
Our task is to instill in schoolchildren an aesthetic attitude towards work. It happens that schoolchildren know how to work beautifully, receive satisfaction from their work, and bring beauty into life. All these components of labor aesthetics. However, the feeling of beauty in work should be transferred to the level of a clear awareness of the aesthetic qualities that characterize work. Here, an important place belongs to art, which is used by teachers in their work.
The perception of the beauty of work, science, man, nature, art activates the creative forces of the student. This manifests itself in different ways. Experiencing and understanding the aesthetic sometimes awakens artistic abilities: observation, emotionality, creative imagination. There is a need to express it in paintings, literary works, music, etc. that which is aesthetically exciting in life. In other cases, the student tries his hand at scientific creativity and strives to find the most elegant solutions to cognitive problems. The student may have a willingness to create in the sphere of social life, to preserve and multiply the beauty in relationships between people. Awakened by aesthetic values, creativity can turn to the personal, internal world. Then the aesthetic contributes to the formation of independence, self-awareness of a person, understanding of one’s mental abilities, their critical assessment, and the experience of advantages and disadvantages. The aesthetic stimulates self-education: an ideal is developed, a desire is evoked to be like it, to change one’s life, to consciously deal with one’s shortcomings, to control oneself, and to develop positive qualities. At the same time, self-development is associated with various areas of activity: communication, knowledge and work.
Aesthetic education is the result of targeted aesthetic influences on a student, carried out in the unity of the processes of teaching, upbringing and development. The aesthetic attitude creates the basis for the practical aesthetic activity of students, forms a certain emotional and imaginative assessment of objects, and awakens interest in them.
Aesthetic education, being part of ideological, moral, labor and physical education, is aimed at the comprehensive development of a new person, whose intellectual and physical perfection is combined with a high culture of feelings. An aesthetic attitude towards the world is, of course, not only the contemplation of beauty, but, first of all, the desire for creativity according to the laws of beauty.
Chapter II. Subject-based practical activities of students in technology lessons
1 Technology lessons in elementary school
As teachers, we are especially interested in the problem of artistic and aesthetic education of students. It is aimed at developing in children the ability to feel and understand beauty in nature, art, and developing artistic taste.
In the system of working with junior grades, we implement two main educational aspects of subject-based practical activities:
Ensuring active “communication” of children with various craft materials;
Accustoming them to meaningful, creative work that cannot be reduced to mechanical exercise of the hands.
In accordance with the first aspect, we gradually include a variety of materials in the work in the lessons: various types of paper, cardboard, fabric, threads, dried plants, seeds, foil, buttons, plasticine, etc. We teach children to master different ways of processing these materials, to use the simplest hand tools and perform practical operations - this allows children to develop basic sensory processes, which themselves are the “entrance gate” of all cognition. Together with children we study the properties of materials, the features of “behavior” during various processing techniques. At the same time, we do not set the task of giving children any special knowledge about materials. First grade students are not required to memorize, for example, the names of different types of paper or fabric, etc. We think this is completely unnecessary for general education and will only burden the children’s memory. However, we are trying to form in first-graders a unique “sense of material”, without which free design activity is impossible. Children gradually acquire the habit of independently experimenting with materials, working creatively and fearlessly. At first, the basic techniques, of course, have to be shown and practiced well, but gradually the children themselves will expand the acquired knowledge and the ability to use it in more serious creative work.
The second aspect of the work assumes that, on the basis of certain practical actions, students carry out serious mental and emotional activity and develop the most important cognitive processes and abilities, primarily sensation, perception, attention, imagination, and thinking. This means that mastering practical work techniques is not an end in itself for labor lessons. Subject-based practical activity at this age is a very effective means by which it is easier for a small schoolchild to solve more serious cognitive problems than to carry them out “in his head.” This is an objective, well-known psychological pattern, which was taken into account when developing textbooks and methodological recommendations for them. A first-grader does not just make crafts and get his hands on processing certain materials, but every time he carries out active cognitive activity.
From the first lessons we pay serious attention to the organization of work, we teach children to timely and thoroughly prepare everything they need for the lesson, and during the lesson they gradually maintain order in the workplace. From the very beginning, we make sure that children perform all operations correctly, teach them to use glue correctly, apply it, evenly distributing it over the surface of the part to be glued; Be sure to dry the products according to all the rules so that they do not warp.
One of the most common operations when processing paper is folding. We teach children how to work folds correctly, this allows them to work more easily and efficiently in the future.
We pay attention to such issues as saving materials and time, marking is only on the wrong side. At the same time, we organize work in such a way that students consciously assimilate the necessary rules and requirements, and do not carry them out willy-nilly. When working with paper, we spend a few minutes at the appropriate stages of the lessons discussing how to most rationally organize the work. How can you economically mark out the parts, prepare them as quickly as possible, etc. At the same time, do not forget to note in the lesson that saving is not commercialism or prudence; it requires intelligence and makes the work more graceful and beautiful. This is also achieved by strict adherence to all work rules.
During technology lessons we pay great attention to safety precautions when handling tools. We introduce children to the rules and ensure strict and strict adherence to them. This work is carried out systematically and consistently, as certain tools are included in the activity, along with the development of techniques and work culture. During the first task, getting to know the tools, we talk about the rules for handling them, demonstrate the operation of the tool and, if possible, perform appropriate exercises with the students. In the future, we have to constantly remind children about safety rules, monitor their compliance, and, if necessary, specially practice them in exercises.
The concept of the beauty of labor includes the concepts of the beauty of the one who works, the beauty of the labor process and the beauty of the product of labor. Only meaningful work can be beautiful. The student cannot feel the beauty of the labor process, the purpose of which he does not know. In the process of creative work, the student improves himself, achieving harmony of his strengths and abilities.
The topics of lessons in primary school are wide and varied. It is represented by three large blocks: design, technical modeling and agricultural labor. Technology lessons are taught in accordance with the program and textbook intended for students.
Paper and cardboard processing
Paper and cardboard are materials with which the foundations of graphic literacy are laid. We introduce children to sketches, drawings and make markings based on them. Let’s not forget about a creative approach to work. The students made a pencil holder out of paper. We suggest decorating it with ornaments. Children come up with their own options and create. They decorate pencil holders as best they can, trying to make the craft beautiful, elegant, so that it pleases not only the person who made it, but also others. The children evaluate their own work. Everyone has their own attitude to beauty and its perception.
Paper and cardboard products: toys, souvenirs, panels, postcards, appliques, silhouette cutting (Appendix Fig. 1,2,3,4)
Processing of natural materials
Lessons on working with natural materials contribute to the development of children's imaginative ideas, visual memory, imagination, and creative abilities; help develop initial skills in processing natural materials, connecting parts using plasticine and quick-drying glue; In the lesson I cultivate love and respect for nature. In lessons on processing natural materials, I give children the initial skills of making products from natural materials. Working with natural materials is a creative process, so children's imagination is encouraged in the lessons. Having mastered the initial techniques of processing and assembly, children independently make various products from natural materials.
Products made from natural materials: souvenirs, panels made of dried plants, compositions, appliqués. (Appendix Fig. 5.6)
Lesson outline Panel “Autumn” 1st grade lesson:
To familiarize students with various natural materials (leaves, nuts, cones, tree branches, fluff, etc.)
Teach children to create small panels from natural materials.
To cultivate diligence, accuracy, aesthetic taste, and the desire to complete the work started.
Teaching methods: Story, demonstration, practical work.
Equipment and materials: Leaves of various shapes, glue, scissors, colored cardboard.
Lesson type: Practical.
Time: 45 minutes
Interdisciplinary connections: History: information about the history of the toy; literature; connection with fairy tale characters.
During the classes. Organizational moment (3-5 min.)
Check students' readiness for the lesson, mark those who are absent.. Communicate the topic and goals of the lesson (7-10 min.)
Today in the lesson we will create a panel “Autumn” from natural materials. Our goal: to learn to see the unusual in ordinary materials. Repeat safety precautions when working with scissors and glue.
Rules for safe work with scissors No. 5.
Rules for safe work with glue. No. 6. Practical work (14-15 min.)
The work proceeds in stages:
Conversation with children.
Look at I. Levitan’s illustrations “Golden Autumn”, “Autumn Morning. Fog". Guys, what is shown in the picture? What season? How have the trees changed? What colors did you like best in the painting? Now let's look at the autumn leaves that lie on your tables.
I give you time to admire the beauty of autumn leaves. What mathematical figures do the leaves resemble? What color are the leaves? What do the leaves smell like? Which leaf did you like best?
Independent work of children.
Come up with a plot for the panel “Autumn”
Fizminutka
Individual work with children. (I draw the child’s attention to the fact that from different leaves you can put together a beautiful panel in the form of a circle or a flower). After finishing the work, we come up with a name for our creations together. (“Autumn Sun”, “Golden Carpet”, “Memories of Autumn”. Summing up
The teacher sums up. Children talk about their work from an aesthetic point of view (which I did better, more beautifully).
Each child evaluates his own work and the work of his friends. Cleaning the workplace. Homework.
Plasticine processing.
In lessons on processing plasticine, we introduce children to the properties of plasticine, the basic elements, and tools. From the first grade we make the first simple crafts (snakes, snails, bugs, caterpillars, fruits, vegetables). Get acquainted with the elements of modeling (ball, rope, cone, tape, etc.) Get acquainted with the elements of modeling: tearing, rolling, rolling, flattening, indentation, connection. To successfully teach children sculpting techniques, we use individual artistic products, using samples of which students analyze shape, proportions, get acquainted with various ornaments, colors, etc.
Introducing children to some handicrafts, especially toys, certain types of tableware, as well as available decorative modeling techniques, has a positive impact on the comprehensive development of the child’s personality, nurturing his aesthetic taste and creative abilities.
Folk art figurative, colorful, understandable to children, as it reveals the beauty of the world around them in simple, laconic forms.
Plasticine products: plasticine paintings, figurines of birds, animals, folk toys, decorative plates. (Appendix Fig. 7.8)
Fabric processing
Fabric is the main textile material that primary schoolchildren work with in technology lessons. Initially, we introduce certain sewing techniques and safety precautions when working with needles. We teach children how to correctly mark parts on fabric according to a pattern; mastering stitches is carried out during exercises and during the manufacture of products. Practical work with fabric is mainly individual, but can also be collective, depending on the type of work. In the process of practical work, children make socially useful products: napkins, bookmarks, potholders, toys. (Appendix Fig. 9.10)
Children's creativity should be present in every lesson and every extracurricular activity. It must be supported, encouraged and developed, otherwise, where will we get innovators and inventors from?
Full use of the educational, educational and developmental potential of this area creates a solid basis for the formation of a creative, intelligent person who is practically proficient in various types of activities and the ability to solve emerging problems in front of him.
2.2 Technology lessons in high school
Aesthetic education is the most important aspect of raising a child. It contributes to the enrichment of sensory experience, the emotional sphere of the individual, affects the knowledge of the moral side of reality, increases cognitive activity, and even affects physical development.
Aesthetic education in technology lessons in high school is based on developing the interest and creative capabilities of schoolchildren. All educational products are selected taking into account a number of psychological characteristics of the students, since only in this case does interest arise and motivation for further educational and cognitive activity appears. All objects of labor are selected in such a way that they are as educational as possible, have aesthetic appeal, and give an idea of traditional artistic types of material processing. In addition, the selected objects of labor open up wide opportunities for the development of creativity, which can be more fully realized in project activities, and, finally, can be performed in a school workshop.
Aesthetic education in the process of students mastering relevant technologies will be carried out more successfully when using the capabilities of modern computer software to illustrate the material presented, as well as to prepare working sketches.
Aesthetic education influences the development of artistic taste, spatial imagination, abstract thinking, eye, and accuracy. Work on aesthetic education of schoolchildren in labor lessons should be systematic and purposeful.
But in order to achieve results and raise an aesthetically developed child, you need to remember that “aesthetic education is continuous - it is carried out by all teachers, in all classes, all the time”
The educational field “Technology” aims to lay the foundations for preparing students for work in new conditions, to promote the education and development of an enterprising creative personality.
The system of classroom and extracurricular work at school for all academic disciplines should be aimed at solving these problems. Technological education plays a significant role in this. The educational field “Technology” has great potential for creating conditions for the cultural and personal development of schoolchildren. Full use of the educational, educational and developmental potential of this area creates a solid basis for the formation of a creative, intelligent person who is practically proficient in various types of activities and is able to solve the problems that arise before him. The minimum content of basic educational programs for the types of activities being studied is reflected in two traditional areas for Russian schools: “Technology. Technical work" and "Technology. Service work." The introduction of the educational field “Technology” into the State Standard has posed many tasks for the school, one of which is methodological and technological support for classes in various sections.
The need to develop and introduce a new educational field “Technology” is due to those profound social changes in all spheres of our life that have affected production relations of ownership, exchange and consumption of material and cultural goods and services, which required a fundamentally different approach to the issue of preparing the younger generation for independent life .
Cooking lessons
Almost all topics of the program in the subject “Service Labor” allow for the aesthetic education of schoolchildren in labor lessons.
Thus, in cooking classes, the teacher develops in students the skills of setting the table and decorating it; behavior at the table. He conducts conversations about how dishes, table decorations and tablecloths, and the interior of the room should be combined; gives advice on serving everyday and holiday tables.
Schoolchildren learn to cut fruits and vegetables using various devices; decorating dishes with onions, parsley and dill; vegetables that make up the dish. In the process of such work, girls acquire the ability to combine the useful with the beautiful.
When conducting cooking lessons, our task is to equip schoolchildren with knowledge and skills in food processing technology. Students are able to perform technological operations in the preparation, presentation and storage of various culinary dishes and food preparations. During our lessons we introduce you to the basics of balanced nutrition, the properties and nutritional values of food products, and also introduce you to professions. Food Industry: cook, pastry chef, technologist, etc.
In cooking lessons, we form and develop students’ abilities to make decisions independently, to take a creative approach to doing work (subject to technological discipline), to make economic calculations, to find the optimal way to solve a given problem, to work with technological documentation, to set a daily and festive table, and to use cutlery correctly . When students perform practical work, we focus on economical handling of products during the cooking process. When studying this section, we pay special attention to the use of various tools and devices, heating devices, compliance with labor safety rules and sanitary and hygienic requirements.
We introduce girls to the history of the emergence and development of cooking, national cuisine, diet, types of table settings, etiquette rules for eating, inviting guests and their communication during the feast. When studying each topic, students gain knowledge about the nutritional value of the products being studied, their importance in human nutrition, preparation, presentation and storage.
In practice, we use posters, tables, instruction cards, and special literature to develop knowledge and skills in cooking technology, along with demonstrations of labor techniques in the process of preparing dishes.
The purpose of the introductory lesson of the section is to provide a visual perception and conscious understanding of the essence of the technological process being studied and the relevance of the product. Students become familiar with the purpose of the upcoming work, its content, practical tasks, technological documentation, workplace organization, and safe work rules. Particular attention is paid to demonstrating work techniques, accompanied by demonstrations of various teaching aids.
In grades 5-7, girls acquire practical skills in processing food products and preparing individual dishes from them. From class to class, practical cooking work becomes more difficult. In grade 5, students master the processes of preparing various types of sandwiches, egg dishes, hot drinks, and salads from raw and boiled vegetables. In the 6th grade they prepare dishes from pasta, milk, jelly and compote. In 7th grade, they must prepare a complete lunch: a meat or fish appetizer, soup, a second course of meat or fish, and dessert. In 8th grade, students bake products from various types of dough. In the 9th grade they learn how to preserve food.
To ensure that students acquire practical skills more firmly, we provide introductory, ongoing and final instruction. This helps students analyze and control their work, prevent errors, or identify and eliminate them in a timely manner.
When choosing teaching methods, we proceed from the goals of developing the cognitive interests and abilities of students. Girls become interested in work the moment they are told what dishes they will prepare. The development of interest in work depends on the creative atmosphere that arises in the process of preparing dishes, encouraging independent practical or research activities of schoolchildren.
At the final cooking class, a festive tea table is set according to all serving rules. Girls bring dishes and baked goods from home, prepared and decorated on their own or with the help of their parents, and a celebration is held. During tea drinking, dishes are tasted and recipes are exchanged. And, of course, the conversation is conducted according to the rules of etiquette.
(Appendix Fig. 11,12)
Fabric processing aesthetic education lesson technology
An important feature of technology as a general education discipline is its integrative nature and practice - the orientation of the knowledge and skills formed in students. Mastery of them occurs in the process of manufacturing specific products, which is why the choice of objects of labor is so important. They correspond to the curriculum and are selected depending on the level of knowledge and skills of schoolchildren, taking into account their interests and financial capabilities. These products are of various designs, sizes, and have a variety of finishes. All practical work is accessible and feasible for students.
Planning and preparation of each regular lesson are based on a calendar-thematic plan. Based on the content of the training, each lesson specifies the educational and educational goals of the lesson. Technology classes are usually of a combined nature. Particularly noteworthy are classes on the final test of knowledge, laboratory and practical work.
When drawing up a lesson plan, we provide for its introductory, main and final parts. We focus on new concepts and skills, features of product manufacturing technology that students must master and practically apply. We prepare appropriate material, technical and visual support for the lesson. The study of each section begins with an introductory lesson, the purpose of which is to familiarize students with the goals of the upcoming work, the content of new material, practical tasks, workplace organization, and safe work rules. We pay special attention to demonstrating work techniques. Before the lesson, we set ourselves the task of ensuring that schoolchildren meaningfully master the technology of making a garment. At the same time, it is important to develop in students certain knowledge, skills and abilities in the process of working on the product. We guide, observe and correct the practical activities of students. With each year of study, the share of the teacher’s directing activities decreases in favor of his corrective or consulting activities.
When studying “Fundamentals of Materials Science,” girls design collections of fabric samples, on which they learn to use contrasting combinations in fabric colors and create various compositions: characters from cartoons, fairy tales, animal figures, etc.
An important role in the aesthetic education of students is played by the use of elements of folk art and decorative and applied arts in labor lessons.
“Manual creative labor, which forms the basis of the activities of folk artistic crafts, is a form of labor that has survived to this day, naturally combining all aspects of the human personality, demonstrating in a continuous whole the ability of a person to feel and create, to work and rejoice, to learn and teach others.”
So, in a materials science lesson in the 5th grade, girls get acquainted with the properties of linen and cotton fabrics when making a spinning doll.
Purpose of the lesson: to expand students’ understanding of the properties of linen and cotton fabrics, to provide information about Russian folk toy, Russian folk costume.
From time immemorial, the traditions of dolls made from scraps of fabric and fur have come to us. The toy was given a magical meaning. Homemade rag dolls were faceless: the face was replaced by a pattern in the form of a cross, rhombus, square, etc. According to popular beliefs, a doll with a face seemed to acquire a soul and could harm the child. Therefore, the faceless doll was also a talisman. And by the way the doll was dressed, they judged the taste and skill of the owner. Before starting to make a toy, it is necessary to orient the student towards a certain image of a rag doll. You can suggest making a sketch of it in color. Cotton and linen fabrics of bright colors are most suitable for a doll's costume - chintz, linen, satin. These fabrics are very easy to cut, do not stretch, and are well stitched and glued together. Showing samples of fabrics, the teacher explains how to identify the lobe and weft threads, the front and back sides of fabrics, and draws attention to the structure of the weave of the threads.
The physical and mechanical properties of fabrics - strength and wrinkleability - are used when selecting fabric for the body. It is necessary to pay attention to such technological properties of the fabric as thread shedding and shrinkage, taking into account which the finishing of the suit is selected (braid, ribbon, buttonhole stitch, zigzag processing on sewing machine). With the help of the teacher, students select scraps of different colors and patterns for the doll's costume. The teacher gives brief information about the features of Russian (Chuvash) folk costume, its color scheme and coloristic features. Invites students to decide for themselves how to process sections depending on the studied properties of the tissue.
Then the doll is made, the results of the lesson are summed up: When making a twist doll, students became acquainted with the properties of cotton and linen fabrics, and completed an original object of labor. When assessing the work, the accuracy of its execution, the correct selection of material, and independence in deciding the image of the doll are taken into account.
The task of the final lesson is to consolidate and control the knowledge and skills of students in this section. We solve it with the help of various types of tests (tasks, questions, exercises, crosswords, etc.). Fabric products: potholder, patchwork napkins, apron, scarf, nightgown, skirt, shorts. (Appendix Fig. 13,14)
At knitting lessons we introduce brief information from the history of this ancient needlework, and products made using the knitting technique. In the first lessons, we select materials and tools for knitting, introduce the rules for selecting knitting needles from steel, plastic, depending on the quality and thickness of the thread, study the conventions used when knitting, working techniques, and the correct position of the hands. Knitted items: doll, scarf, hat, socks, booties, gloves, cosmetics bag. (Appendix Fig. 15,16)
Designing fabric products is a very important stage of work. It is this process that develops the child’s creative abilities: taste, sense of color, compositional solution, choice of artistic image. At embroidery lessons we introduce the creativity of folk craftsmen of the older generation of our village, methods of transferring a design onto fabric, selecting a needle and thread. Learning to do the simplest things correctly hand stitches, rules for cutting the thread, threading the product into the hoop, securing the working thread to the fabric without a knot. In the classroom, we form and develop students’ skills to make decisions independently, to take a creative approach to doing work (while observing technological discipline), to make economic calculations, to find the optimal way to achieve a goal, and to work with technological documentation. Embroidered products: napkins, tablecloth, collars, potholders, paintings. (Appendix Fig. 17,18)
Outline lesson. Embroidery with Rococo stitch. Pincushion. 5th grade
give historical information about cotton threads and needles;
to develop interest in decorative and applied arts;
develop imaginative thinking, creativity, aesthetic taste
Equipment: multi-colored floss threads, needle, hoop, scissors, tracing paper, pencil, plain cotton fabric.
Progress of classes. Introductory part.
Organizing time
Preparation for classes
Safety briefing. Introductory speech by the teacher.
Guys, our guest Valentina Vasilievna came to our lesson today. You all know her, she embroiders beautiful paintings using satin stitch and cross stitch. Today she brought items that can be used to decorate your home rooms. Conversation with a local needlewoman. Review questions:
What did a girl cook for her dowry in ancient times? (I wove fabric, sewed clothes, embroidered towels, tablecloths and more.)
Were rich families engaged in embroidery? (Yes, this type of needlework was practiced even in the royal family.)
Before you start embroidering, what should you do first and why? (Smooth the fabric, as the presence of creases will affect the quality of the work.)
How can you align the edges of a napkin? (Pull out the warp and weft threads alternately.) Contents of classes.
Historical information about cotton threads.
Teacher. Usually, every needlewoman has several basic items in her arsenal, without which she cannot work. They even came up with many riddles about these objects. Guess them:
On one finger the bucket is upside down. (Thimble.)
The tool is experienced, neither big nor small, it has a lot of worries: it cuts and shears. (Scissors.)
Thin, long, one-eared, sharp - red for the whole world. (Needle.)
To sew, you need a needle and... (thread).
Our next story will be about threads. Cotton thread for sewing and embroidery appeared in Rus' much later than woolen and linen thread. Thus, in the northern provinces, where linen threads were predominantly used, in the 18th-19th centuries they almost everywhere began to be replaced by imported cotton threads. And as soon as they were not named! At the beginning of the first half of the 18th century, red cotton yarn was brought from Turkey and Crimea to Moscow (via Ukraine), so it was called Crimean. In the Vyatka province, it was difficult to get such a thread, so in the Vyatka regional dictionary of 1772, red cotton threads are called “dostal”. Scarlet-colored cotton yarn was called kumak by Russian peddlers; they supplied the Baltic states with kumak. It is interesting that among the East Slavic peoples, in the 19th century, cotton thread was called “zapolochya,” and among the peoples of Mordva, this thread was called “maslyanka” from the method of its processing - to give shine, it was boiled in hemp or linseed oil.
Historical information about the needle.
Teacher. It is not for nothing that there is a proverb: “Where there is a thread, there is a needle.” They cannot exist without each other - if a needle is lost, the thread will not always find a use. It's time to learn something new about the needle. The first needles appeared in ancient times. They were, of course, not steel and were made from fish bones. Our distant ancestor made a small hole in a needle - an eye - and sewed with sinew threads.
The historical encyclopedia claims that on the territory of our country, a bone needle with an eye was used in human use during the Late Paleolithic period, that is, 19,000 years ago. Needles and pins, found by European archaeologists and dating back to the 1st millennium BC, are not inferior to their modern sisters in their elegance and practicality.
A revolution in needle making occurred in the 14th century, when wire drawing was invented. For a long time, Germany and Spain were considered the main suppliers of this product in Europe. But since 1650, the British seized the monopoly, creating special machines for the production of needles.
The history of the Russian industrial needle comes from Peter I. By his decree of 1717, Russian merchants brothers Ryumin and Sidor Tomilin built two needle factories in the villages of Stolbtsy and Kolentsy on the Prona River. And isn’t it strange that those same needles had to be used by the former queen, the first wife of Peter I, Evdokia Fedorovna Lopukhina, who mastered the craft of embroidery during the days of her almost 30-year imprisonment in monasteries and the Shlisselburg fortress. She told her grandson, Peter II, about this when donating a ribbon and star on the occasion of her release: “I, a sinner, brought it down with my own hands.”
And yet, this simple object has firmly entered the life of the poor, becoming a real symbol of hard work. “A village stands by a needle and a harrow,” they said in the old days.
Introduction to the practical part.
Teacher. In today's lesson we will begin to make a needle bed, which is made with a twisted cord (or coiling). This is a very beautiful seam, it is notable for the fact that many turns are wound on the needle and a long stitch is obtained. In folk embroidery such a stitch is called “twisted”, “curly”, “twisted”, and in modern embroidery it is known as “rococo”.
Winding can be used to embroider many floral designs on a variety of fabrics. To work you need long thin needles, floss threads, and a hoop.
Practical part: making a twisted seam.
Teacher. In order to start making a product with this interesting seam, let’s first practice on a fabric sample (Fig. 41).
Let's prepare a plain fabric. Draw the outline of the pattern onto the fabric. We fasten the thread from the wrong side or under the stitch and bring it to the front side of the fabric.
Stepping back a little, we stick the needle into the fabric from right to left and bring it to the place of the first puncture on the front side. We make 9-10 windings of the working thread onto the tip of the needle and, holding the windings of the working thread with the fingers of our left hand, we pull the needle through. Then we stick the needle into the previous puncture and bring it out next to it, pulling the thread.
The result is the first flagellum - a flower petal. This is how we perform the second and all subsequent stitches - chamomile flagella, roses, chrysanthemums, embroidered with colored threads.
Making a pincushion.
Let's mark a square on a plain fabric with the size cm. Add 1 cm to the seams. We translate any drawing using tracing paper (Fig. 42, a, b).
We select the color of the thread according to our wishes. In addition to the twisted seam, we use a satin stitch.
After completing the embroidery, cut out the second part (the lower part of the needle bed) from the same fabric. We fold the parts with the right sides inward, and sew three sides of the product on the sewing machine. The details can be sewn by hand using small stitches. We do not sew the fourth side completely, leaving a small hole. We fill the needle bed with cotton wool, carefully sew the hole.. Summing up. Mini-exhibition. Discussion of students' work. Which of the works was performed technologically and aesthetically correctly?
In the new academic year, we will continue to work on the problem of aesthetic education in technology lessons, using various pedagogical technologies that ensure the activation of students’ creative abilities. The teacher’s task is to form in the child an aesthetic attitude to reality, the need for activity according to the laws of beauty. By developing aesthetic taste, teach schoolchildren to see and appreciate beauty, i.e. to cultivate a culture of aesthetic education and feelings.
3 The result of aesthetic education of students in technology lessons. Work efficiency
Three levels of aesthetic development of schoolchildren can be distinguished
A low level of aesthetic development is characterized by the following indicators: negative attitude towards beautiful products; lack of desire to create aesthetic products. Indicators of ability are as follows: students do not distinguish between beautiful and ugly objects, and do not distinguish the concept of “beautiful.” Their ability to tinker is poorly expressed. They have an idea of the beauty of a product, but cannot explain why specific samples are beautiful, and have a weakly expressed ability to create. Students have an understanding of the beauty of objects, they can show which product is more beautiful, but they explain it in a confusing, confusing way; they do not have sufficiently developed skills to create beauty.
The average level of aesthetic development is characterized by the following indicators: the desire to have bright, catchy products; interest in beautiful products; interest in aesthetic products and the desire to make the same object as the sample. At this level, the ability indicators are as follows: they have a concept of beauty, what the beauty of a product lies in, but cannot explain how to do it, i.e. do not know the technology of making a product and creating a beautiful object; have a concept of beauty, can explain why an object is beautiful, and also talk about the technology of its manufacture, name the tools with which the object is made, they can design and manufacture it themselves, but it is not beautiful enough; have an understanding of beauty, can explain what it consists of and what the manufacturing technology is, and can also repeat and create similar products.
High level aesthetic development is characterized by the following indicators: the presence of a need to create beautiful products; the need to contribute to all manifestations of beauty, improving various items, search for beauty in life, reality. At this level, the ability indicators are as follows: students can explain how the beauty of an object and manufacturing technology are expressed, the materials and tools used, ways to create their own options based on what was proposed; having studied the proposed sample, they can analyze it, propose a technology, and also independently produce a product better than what was proposed; They create fundamentally new product designs based on their own idea of beauty, and choose the optimal technology for manufacturing objects.
The transition from one level of knowledge to another, higher one, occurs as a result of active activity, which leads to the development of certain personality qualities. Beauty is achieved by students both with sufficient ability to accurately perform labor operations and with the ability to obtain a high-quality result of labor.
When assessing the result of work, the “aesthetically pleasing” criterion can be used. This criterion is used when considering both intermediate and final performance results. Failure of the teacher to use this criterion leads to the formation of an incomplete understanding of the surrounding reality in students and leads them away from solving the problem of forming a comprehensively and harmoniously developed personality.
The use of modern educational technologies and a person-centered approach to teaching aesthetic education made it possible to obtain the following results: Fig. 2, fig. 3.
Quality of academic performance - 100%,
The number of students studying at “4” and “5” levels was:
2008 academic year year - 88.75%;
2009 academic year year - 89.79%;
2010 academic year year - 90%;
2011 academic year year - 90.2%.
Fig.2. Level of training, quality of students' knowledge.
Rice. 3. Diagram of the level of aesthetic education of students in technology lessons
Once a year we hold a school exhibition where children's work is presented. We also take part in regional competitions, taking prizes and honorable mentions, which makes us happy that children’s work is appreciated. “Table 1” As a result, we came to the conclusion that technology lessons allow us not only to develop aesthetic culture, but also teach them to think systematically, with an understanding of ongoing processes, helps teach them to analyze everything that happens around them, to see phenomena and systems not only in structure, but and in time dynamics.
Table 1
Participation of students in regional competitions
Academic yeareventF.I. student class result encouragement 1998 Regional competition “Country of Masters” Malakhova Olya 72 Diploma 2000 District competition Metyashova Lyuda 62 Letter of gratitude 2002 Regional competition “Country of Masters” Klyosova Marina 81 Diploma 2003 Regional competition “New Year’s Toy” Belyaeva Lena Malakhova Tanya 8 81 1 Letter of gratitude, monetary reward 2 007 Regional competition “Masters and Apprentices” Natasha Karaskina62 Letter of thanks 2008 Regional competition “Masters and Apprentices” Lyuba Malysheva , Panfilova Katya, Malyshev Misha9 9 71 1 1Diploma Diploma Diploma
We believe that aesthetic education will be more effective if students are given the opportunity to independently “discover” the laws of beauty and harmony and apply them in the process of their own creative activity.
Conclusion
The results of our work showed that the driving force behind the development of aesthetic education is the formation of motives that stimulate the individual to independent creative actions, to the manifestation of their own uniqueness, and the inclusion of students in the process of creative search non-standard solutions, the opportunity to demonstrate products of educational and creative activities. The results also indicate that purposeful work on aesthetic education contributes to the development of aesthetic taste and creative activity.
Working on the development of aesthetic education in children in technology lessons, they developed a steady interest in technological creativity. And if we want to see our children as aesthetically developed, creatively free individuals, then, when coming into contact with them, we must be able to understand their motives and needs and skillfully direct the course of their development.
Thus, we have revealed that aesthetic education is aimed at solving the following problems:
developing in children the ability to perceive, feel, correctly understand and appreciate the beauty in the surrounding reality and art;
developing skills in using art to understand people’s lives and nature itself;
development of a deep understanding of the beauty of nature, the ability to protect this beauty;
development of children's creative abilities, skills and abilities to feel and create beauty in the surrounding life, in the classroom, at home, in everyday life;
development in children of an understanding of beauty in human relationships, the desire and ability to bring beauty into everyday life.
During lessons, children look forward to new interesting tasks, and they themselves take the initiative to find them. The general psychological climate in the lessons is also improving: the children are not afraid of mistakes, help each other, and are happy to participate in various events held both at school and at the district level.
Literature
Identification of knowledge and skills of students in service work // School and production. - 2003. - 6. - from 57 - 62
Golkin, V.V. I'm entering the world of art. Educational and methodological library. - M., 2002. - 134 s
Golkin, V.V. I'm entering the world of art. - M.: All-Russian Center for Artistic Creativity. 2002.- 135 p.
Kruglikov G.I. Methods of teaching technology with a workshop: Textbook. aid for students higher ped. textbook establishments. - M.: Publishing center "Academy", 2002. - 480 p.
Moleva G. A. Bogdanova N. A. Formation of the ability to learn in technology lessons (service labor) // School and production. - 2000. - 3. - from 64 - 66
Moshak V.Z. Introduction to standardization in technology lessons // School and production. - 2000. - 8. - p. 6 - 8
Ogerchuk, L.Yu. Technology training program. Grades 1-4 [text] / O.V. Pavlova. - Volgograd: Teacher, 2006. - 25
Programs "Technology": grades 1-4, grades 5-11: For secondary educational institutions RF. - M., 2000. - 158 p.
Pushkin V. A. Teach to see and create beauty // School and production. - 2002. - 6. - from 68 - 69
Technology: Textbook for 5th grade students of secondary schools (option for girls) V. D. Simonenko, Yu. V. Krupskaya and others; Ed. V. D. Simonenko - M.: Ventana-Graff, 2003. - 256 p.
Technology. 6th grade: lesson plans based on the textbook, ed. V.D. Simonenko/ed. - comp. O.V. Pavlova, G.P. Popova. - Volgograd: Teacher, 2007. - 287 p. - ISB No. 5 - 7057 - 0966 - 8
Technology: Textbook for 7th grade students of secondary schools (option for girls) V. D. Simonenko, Yu. V. Krupskaya and others; Ed. V. D. Simonenko - M.: Ventana-Graff, 2005. - 100 p.
Handicraft technology. Brief encyclopedia of embroidery publishing house "Uchitel" Author - compiler. O.N. Markelova Volgograd 2009 from 3-12
Khutorskoy A.V. Modern didactics: Textbook for universities. - St. Petersburg: Peter, 2001. - 544 p.
Application
Photographic materials. Works of elementary school students.
Fig.1. Card for mom
Fig.2. Made it yourself
Silhouette cutting
Fig.3. Work by Mestyashova Vika
Fig.4. Work by Vanya Gorbunov
Working with natural materials
Fig.5. Work by Malyshev Misha “Birch”
Fig.6. Work by Alyosha Bogodukhov, Veronica Sobyanina, Tanya Potekhina.
Working with plasticine
Fig.7. Work by Anton Klyosov “On a walk”
Fig.8. Work by Anton Klyosov “Aquarium”
Working with fabric
Fig.9. Work by Alyosha Bogodukhov, Veronica Sobyanina, Tanya Potekhina. Soft toy “Cat”
Fig. 10. Work by Alyosha Bogodukhov, Veronica Sobyanina.
Soft toy “Baby”
Photographic materials. Works of high school students.
Cooking
Fig. 11. Defense of a creative culinary project
Fig. 12. Table setting for breakfast
Working with fabric
Fig. 13. Work by Ksyusha Gorbaneva “Amulet”
Fig. 14. Work by Potekhina Nastya. Kitchen set (pot holder, mitten)
Fig. 15. The work of Malysheva Lyuba. Pullover with clown
Fig. 16. Olya Agarkova's work of booties
Fig. 17. Work by Olya Malakhova “Pansies”
Fig. 18. Natasha Panfilova’s work “Pink Roses”
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