Pedagogical creativity: concept and foundations. Speech "My Pedagogical Findings" Intellectual, emotional and volitional components in creative activity are inseparable

the main task modern education consists in mastering the methodology of creative transformation of the world by specialists. The process of creativity includes, first of all, the discovery of something new: new objects, new knowledge, new problems, new ways of solving them.

Learning cannot be reduced only to the acquisition of U and N, it is a means to achieve its highest purpose, self-actualization and self-expression in creativity (A. Maslow, 1999).

Despite the great diversity of opinions about what creativity is, everything converges on one thing, that the result of a creative act is always something new. Questions arise: “How is creativity born?”; “Is it possible to teach a person to be creative?”; “Why is the activity of one extremely productive and is evaluated as creative, while the other is only capable of reproductive labor?”

The creative activity of students helps to identify their personal qualities, such as activity, responsibility, independence, creative approach to business, the level of intelligence development, the ability to clearly express their thoughts, etc.

There are many factors that imply a creative approach to the learning process itself (the study of the sciences themselves, the research of teachers, etc.). Direct teaching of creativity is not possible, but only the creation of conditions that stimulate creative activity is possible. The creative nature of learning is largely determined by the method of obtaining knowledge: knowledge, creatively recreated; knowledge rediscovered by man himself; knowledge that remained for him formal, alien, foreign.

The task of learning is to find such educational material, which would involve the student in a specific activity that has a goal in his eyes ( great importance, interest). It is necessary to find typical activities, the results of which are of real interest to the trainees, and which cannot be performed mechanically. A student truly learns only when he realizes the role of the truths being studied in obtaining the results of an activity that is important for him (J. Dewey, 2000).

IN ancient india the process of transferring the personal creative qualities of the teacher was not limited to the transfer of information to the student. Creativity was associated with a special state of individual consciousness. This state of consciousness is characterized by the inexpressibility of thought in verbal form. As soon as a thought takes on a verbal form, it becomes fixed, stable, goes beyond the limits of individuality, socializes, thereby setting the limit of individual creativity, during which it is only possible to achieve new meaning and knowledge.

Cognition is considered as the acquisition of new knowledge in the creative act of intuition. In teaching, the creative transfer of the qualities of the teacher to the student was pursued. It was this - the creative personality of the teacher - that was the content that was passed down from generation to generation. The understanding of creativity in Eastern culture is closely related to intuition, which is irrational in nature. How is it possible to teach intuition, and hence creativity, and is it possible at all? In the East, it is believed that intuitive abilities are only to develop them.

There are a number of factors that influence the formation of the creative potential of students:

self-confidence, in the ability to solve the problem;
striving for independence in choosing goals, objectives and ways to solve them;
excitation of positive emotions (joy, surprise, experience of success, etc.), stimulating the process of creativity;
formation of critical thinking and sensitivity to contradictions; a tendency to fantasize and develop the imagination;
the use of teaching methods that stimulate the installation of independent discovery of new knowledge (S.D. Pinchuk, 2004).

Creativity is one of the most natural forms of fulfilling the need to search. Along with it, there are other motives for creativity - the need for self-affirmation, recognition by other members of society, etc. For the creativity of gifted people, the very search for a new one, due to psychophysiological patterns, brings great satisfaction. Creative is any activity in the course of which the search for problems, solutions is carried out; creative is also an activity that takes the subject beyond the existing paradigms. The transformation of activity into creative will be facilitated by the formation of certain U and N, creative abilities in the subject. Such creative U and N abilities can be considered as U and N of analysis, comparison, evaluation and self-assessment, creative search and critical perception. It is difficult to teach creativity, but it is in the power of the teacher to purposefully form and develop some U and N, opening the way for a creative breakthrough.

A student is a person with a pure soul, open to the new and the unknown. The task of the teacher is to use and develop methods and technologies aimed at establishing and improving creative U and N, developing creativity and, ultimately, the formation of a creatively oriented personality, taking into account the results of diagnosing its individual characteristics (L.N. Kolesnikova, 2004).

A creative approach to the work being done is not possible without broad mobilization and correct application accumulated knowledge, comprehensive analysis of current information, comparison of options for its use. The formation of creative potential is facilitated by the appropriate organization of the educational process:

problem learning,
the ability to establish interdisciplinary relationships,
fostering a creative attitude to the study of disciplines,
the ability to highlight the main thing and critically comprehend the completed educational material,
development of students' abilities, skills and abilities of analysis, synthesis, generalization, classification,
ability to assess practical situations.

Introducing students to the received profession, activating interest and passion for future professional activities are formed in the process of involving students in research, which significantly expands their horizons and scientific level, improving the quality of training. Therefore, the most important condition for the development of student creativity is joint work with the teacher. research activities. During the training period, everyone should receive U and N research work, independently work on a scientific topic and participate in collective research, in the work of SNO (O.A. Chernova, 2004).

Many educators point out that their work cannot be reduced to certain patterns, it involves creativity.

According to S.L. Rubinshtein, creativity is a human activity that creates new material and spiritual values that have social significance.

Creativity implies that a person has ZUN, abilities, motives, thanks to which a product is created that is distinguished by novelty, originality, and uniqueness.

The development of real creative possibilities, according to I.Ya. Lerner, involves learning to independently transfer acquired knowledge to a new situation, to see under familiar conditions a new function of a familiar object, a new structure of an object, an alternative method of solving, a new method from among the known ones.

Exploring the creative abilities of the individual and the educational and creative activities of students, they pay attention to the presence of contradictions and barriers that stand in their way.

From the point of view of a systematic approach, V.I. Andreev (1988) it is possible to distinguish 3 groups of contradictions in the development of the creative abilities of the individual:

socio-pedagogical contradictions between social processes in society and the development of the pedagogical system;
proper pedagogical contradictions arising in the pedagogical system itself;
personal (psychological) contradictions that reflect the formation of the creative abilities of the individual.

A.M. Matyushkin (1993) points out 3 main contradictions:

1. the contradiction between what the student knows and can do and what he is capable of in the process of solving creative problems; the student needs to update the experience of redesigning knowledge, mobilize creative abilities and help from the teacher so that the curriculum is solved;

2. contradiction between subject education and necessity systemic use scientific knowledge in terms of solving a creative problem;

3. the contradiction that arises in the organization of collective educational activities, when it is necessary to realize the group interests and individual interests of the personality of each student, because uniform pedagogical requirements, including creative tasks, cannot be met by all students with the same result.

The normativity of requirements and creativity in education illustrate the unity of opposites, in which normative knowledge serves as the basis for the creative process. However, stereotypes lead to a struggle between normativity and creativity, in which normativity and standard more often prevail, but in the end they lose in efficiency and effectiveness. The content of education should combine knowledge and elements of creativity.

The formation of the creative personality of the student is contradictory in its basis. The theoretical analysis of pedagogical contradictions makes it possible to find psychological and pedagogical approaches and strategies for resolving these contradictions and, thereby, to formulate the corresponding principles of pedagogy of creativity.

The pedagogy of creativity is the science of the pedagogical system of two types of activity: pedagogical education and self-education of the individual in order to comprehensively and harmoniously develop creative abilities, both as an individual and as a team.

Creativity in the pedagogical process is manifested through the development of the creative abilities of students and is formed through the organization of their search activities.

The educational and creative activity of students is focused on solving educational problems, creative tasks and assignments. Educational and creative activity is a pedagogically controlled activity, carried out mainly on the basis of indirect and prospective management. The success of educational and creative activity often depends not so much on the level of development of formal personal, but on heuristic, intuitive methods of intellectual activity (E.I. Belous, 2004).

At present, the main principles of the pedagogy of Torrens' creativity have been updated:

recognition of previously unrecognized or untapped opportunities,
respect for the student's desire to work independently,
the ability to refrain from interfering in the process of creative activity,
providing the student with the freedom to choose the area of application of forces and ways to achieve the goal,
individual application of the curriculum depending on the characteristics of the trainees,
creating conditions for the concrete implementation of ideas,
providing opportunities to contribute to the common cause of the group,
encouragement to work on projects proposed by the trainees themselves,
the exclusion of any pressure on the trainees,
emphasizing the positive meaning of individual differences,
respect for the potential of those who are lagging behind,
show of enthusiasm
creating situations in which more successful students work with less successful students,
search for possible points of contact between the ideal and the real,
approving the performance of students in any area in order to encourage a desire to test themselves in others activities,
providing authoritative assistance to students who express different opinions, who are under pressure from their peers (S.I. Samygin, L.D. Stolyarenko, 2003).

Consequently, the organization of the principles of creativity pedagogy in the educational process creates a creative atmosphere in an educational institution, "saturating" all teaching methods with elements of creativity and providing an innovative approach to the implementation of SVE.

Pedagogical activity, no matter what areas it includes, always involves creativity, the search for something new, interesting, original. The word "creativity" comes from the word "create" and in a well-known sense means to seek, invent and create something that has not been encountered in past experience.

In general, the problem of creativity in our days has become very relevant and is rightfully considered the "problem of the century." Pedagogical creativity has a peculiarity: its content is the creation (education and formation) of a reasonable person, always inimitable, unique. The need to prepare each teacher for creativity does not need proof.

This is a thinking, constantly positive thinking person. Therefore, the first and necessary condition for creativity is the breadth of the creator's horizons. In our case, this is a huge supply of ideas and a free orientation in them. And for this it is necessary to know the achievements, first of all, of modern psychological and pedagogical science and the education of children.

Today's educational process imposes special requirements on the teacher: professional competence, high level of culture, intensive work capacity, erudition, creative activity.

The main criteria in are skills:
Set and analyze goals in their activities;
Orientation in various situations;
Decisions;
Implement certain programs or execution plans;
Check the results of your activities and adjust it to reflect changing situations.
The requirements that the above criteria must meet:
They reflect both the productive and procedural characteristics of the activity of teachers and characterize not only its result, but also the ways to achieve it;
Based on didactic principles of education and upbringing;
Are socially and psychologically significant, make sense for the teacher;
Easy to understand and easy to measure.

There are the following components of creative activity: motivational, content-operational, emotional-volitional.

Motivational component includes a system of motives that express a conscious impulse to activity, including creative activity, the totality of those mental moments that determine a person’s behavior as a whole, what stimulates a person’s activity, for which it is performed.

The motivational component has been studied by many researchers, who considered it as a system-forming element in creativity, since it not only gives personal significance to creative activity, but also regulates it at all stages of implementation.

The motivational component, providing a focus on the creative assimilation of knowledge, includes the motives for creative assimilation and mastery of skills of this kind. For educators, it suggests:

awareness of the need to cultivate a creative personality;
understanding the importance of solving the problem of developing creative activity;
the desire to cultivate creative imagination, fantasy, improvisation, creative transformative activity;
awareness of the importance of developing creative activity in preschool children;
interest, enthusiasm of the teacher in solving this problem;
striving for high marks, recognition of success in creative activity.

A significant place in the content-operational component is occupied by organizational abilities and skills. These are the ability to plan, the ability to self-organize, i.e. the ability of the individual to mobilize their capabilities to achieve intermediate and final goals, the ability to relax, correct, refine and complete the original plan.

So, the content-operational component includes:

knowledge of the philosophical, psychological and pedagogical foundations of the theory of creativity;
broad general cultural outlook: continuous improvement in creative activity;
the ability to compare, analyze, highlight the main thing, justify, express one's thoughts;
the ability to generate ideas, flexibility of thinking, transferring knowledge, opinions to new situations;
the ability to use the creative experience of others, cooperation, the ability to defend one's point of view;
readiness to master modern innovative processes of creative activity and designing own innovations on this basis.

Emotional-volitional component. Emotions are the immediate temporary experience of some more permanent feeling. The emotional component reflects the emotional attitude to educational and creative activity, the inclination to engage in and achieve successful results in it, despite the difficulties that arise.

Another component of this component is the volitional principle, because activity is accompanied by volitional manifestations, it is more conscious, purposeful.

The emotional-volitional component involves:

the ability to overcome emerging difficulties, to bring the work begun to the end;
the presence of interest, the ability to rejoice and be surprised;
decisiveness, initiative, ability to strong-willed skills.

Intellectual, emotional and volitional components in creative activity are inseparable.

For not a single emotion, not a single volitional decision and action arises outside of human activity.

Thus, the formation of teachers' readiness for the upbringing of children's creative activity is associated with all aspects of personality formation: needs, interests, inclinations, abilities, volitional manifestations, emotional attitude to activity.

Natalia Kravchenko
Seminar "Development of the teacher's creative potential as a condition for successful pedagogical activity"

Subject: Development of the teacher's creative potential as a condition for successful pedagogical activity.

Target: create conditions for the formation of teachers the need for organizing work on development of creative abilities.

Tasks:

Create an atmosphere of emotional freedom, openness, friendliness and trust in each other;

Formation and development attitudes towards self-knowledge and self-esteem;

Activation of individual and creativity;

Overcoming psychological barriers that prevent full self-expression;

Equipment: Whatman paper, A-4 sheets, pencils, paints, scissors, glue, newspapers, postcards, handouts

I. Introduction.

1. An excerpt from the cartoon "Luntik"

« Creation» . The word is so familiar and so new. It has as many facets as ideas, plans, and the joy of new discoveries. This word can often be found in literature, it is often used in everyday life. Are we aware of what creation?

2. Video "Parsnip. Definition creativity»

WHAT'S HAPPENED CREATION?

Is it a passive but fateful gift, a lucky break, a fortune that appears and disappears regardless of a person's desire? Or is it still a choice, perseverance, work on oneself and "Planned Luck"? Extension task creative human capabilities in recent years is considered by psychologists as the most effective method active personal development. At the same time, more and more often the very concept of " creation"is regarded as a person's ability to flexibly relate to his own life, as the ability to achieve success in the implementation of their ideas.

“The wise power of the builder is hidden in every person, you need to give it free rein develop and flourish»

M. Gorky

Creativity - activity, generating something qualitatively new and distinguished by originality, originality and socio-historical uniqueness. A person can have many different moods, but he has one soul, and he subtly puts this soul into everything he has. creation. John Galsworthy.

2. Creativity in the work of a teacher is, one might say, a special kind activities aimed at creating a new product. This "highlight", with which teachers captivate children with new knowledge. Creation present in the work of any teacher regardless of work experience or education

Pedagogical activity is a manifestation of constant versatile creativity. It assumes the presence of teacher of the totality of creative abilities, qualities, among which an important place is occupied by initiative and activity, attention and observation, the art of thinking outside the box, rich imagination and intuition

We, teachers like no one else should be creative people. After all, in order to develop creativity in children, you need to be yourself creative people. It is impossible to create something new in any sphere of life without possessing creativity. The main thing is that creativity can be developed not only in children but also in oneself, and above all in oneself. To be efficient teacher while maintaining professional health, it is necessary to see, find and create something new in the profession. How to find something new? According to Soviet film director Sergei Gippius So: "It is difficult to make habitual, habitual - easy, easy - beautiful".

3. Post topic seminar.

II. Main part.

1. Do creatively working teacher - creatively developed students.

2. Creative potential- a set of human qualities that determine the possibility and boundaries of his participation in a certain activities.

Creative development of the teacher is a long process, the purpose of which is to form a person as a master of his craft, a true professional.

Level creative potential of the teacher determines the effectiveness of work teacher with children. The result of insufficient creative activity of the teacher is a decrease in children's motivation to gain knowledge, the status of an institution, a decrease in the level of the educational process.

In our experience, we often hear from teachers"We can't be creative people, we can't create.

3. For successful development of the teacher's creative potential the following pedagogical conditions:

- high professional and personal teacher's potential;

- motivational readiness teacher;

- awareness of innovations;

- material base.

4. Reporting the results of the survey.

5. Creativity.

Personality is considered creative, if it has creativity as a way of transforming activities in the creative process.

"Creativity is creative direction inherent in everyone, but lost by the majority under the influence of the established system of upbringing, education and social practice.

How often do we ask ourselves questions and reflect on them? We are thinking, and not looking for ready-made answers from relatives, friends, in literature or on the Internet?

IN modern life serious employers are always in demand for employees who can find creative solving the assigned tasks. These people are often referred to as creatives.

6. Where do they come from and why is it "not given to everyone"? Why are most people great performers?

Let's try to figure this out together.

The newborn baby is completely dependent on the environment and is "open book". He absorbs the culture, language, traditions of his family. Then the social circle increases, the child is included in society.

At some stage, there comes a moment when the child begins to show individual personality traits that do not coincide with the qualities of those around him. And then adults They say: "Character shows.".

During childhood, the process creativity for any child is natural. Children do not think about how beautifully they draw or sing. They just do it wholeheartedly, completely immersed in the process. In the process of growing up, a person acquires new experience, new qualities, while losing character traits child. including the need for creativity and openness to the outside world. And this process development we take it for granted. On the contrary, if an adult shows signs of a child, we are surprised, perplexed, and even sometimes condemn: "fallen into childhood", "acting like a child". There are certain stereotypes, patterns of behavior that must be met "normal" Adults. And people creative, musical, literary or scientific geniuses, as a rule, "head in the clouds", "not of this world", "white crows" etc.

If we consider "white crows" closer, you can see that these are people who boldly express their views and ideas that are different from the generally accepted ones. They are far from worries about their daily bread, they care little about human passions. There are many examples when a person who is in the process creations, forgot about time, food, sleep, about those who surround him. And in this state he "like a child", he is free, he floats on the river of inspiration, trusting its course.

7. In order to find inner freedom and remember the feeling creative flight I suggest a little to understand yourself. And do it in a few stages:

Stage 1: Tame the animal in you.

Man is one of the elements of the living world of our planet. And of course we still have a lot of animal instincts. This is fine. But here question: who controls us? Instincts or the human mind?

As far as we know, ancient people were not particularly gentle to their own kind. They were accompanied by a struggle for power, for the best piece of food, housing, the best partner. It was necessary to survive in the group at any cost. And the more aggressively a person behaved, the more people recognized his power. The weak were attacked not only by enemies, but also by relatives. He was the weak link of the group, a burden, so he either died first or was expelled from the community. Now take a closer look at your relationships at work, among friends, casual acquaintances, in the family. How far have we gone from our ancestors? Most of modern psychology is aimed at educating leadership, in fact, at the struggle for power, at mastering the techniques of manipulation, achieving one's own goals.

And how do we raise our children? "You must be strong!" "Don't be weak!"

“You have to study a lot, enter a prestigious university in order to be successful!" Have you asked your to kid: "Does your class have (group) anyone who needs help and support?” Do you instill in your children mercy and tolerance for other people's mistakes and weaknesses? And how are you doing with this?

Ancient people lived by instincts. They assumed the presence of some higher power, which must be appeased in order not to provoke anger. This higher power was distant and obscure. Most of my life was spent in the power of instincts. At the same time, our ancestors were very sensitive to nature, animals, environment. They could read them like an open book.

Think and answer a few questions for yourself.

How often are you really aware of your actions?

How often do you ask yourself question: "Why do I need it?"

How often do you do in life what you really want, and not what others expect of you, what a sense of duty obliges you to do?

Do you acknowledge the existence of a Supreme Intelligence in one form or another?

What is your relationship with the world around you, nature? What are they for you: habitat or living substance with its own laws, soul?

Now let's look at the whole situation and let's think: And how far have we gone from the ancient people with their animal instincts? Or maybe we even degraded in some way?

I hope that after these reflections, the process has become more clear to you. "taming" animal in itself.

Stage 2: refusal to belong to a family, clan, group.

The title sounds like a call for revolution. But do not rush to conclusions. We are not talking about the fact that a person should leave his family and go on a "single voyage".

We will regard our personal attachments as a limitation creativity.

When a child is born, it enters the family. Each family has its own traditions, rules of behavior, communication with each other. And the child perceives them as the only correct ones. Then he gets into society: group kindergarten, school class, then university, work. And everywhere there are their own norms of behavior, rules of communication, style of clothing and so on. Gradually, a person turns into a kind of living robot, living "like everyone else", dressing in the style of his environment, using a certain vocabulary, etc.

Live in accordance with the requirements of others comfortably and profitably. But expressing one's opinion, even if it goes against the established norms, is unprofitable. Such actions can lead to conflict, deprivation of material wealth. And here we are reconciled. After all, that's how everyone lives. If we don't like something, we grumble inside ourselves or in the kitchen with our family, but in the end we obey. This is the dependence on belonging to a group. It is from such dependencies that you need to get rid of. We must learn to be ourselves, to stop hiding behind masks, to play theatrical roles. Trying only to look "a good man", cannot be. We must learn to live, how to breathe - also freely. Naturally, this does not cancel respect for others, for their right to be themselves. Observe yourself, your behavior and honestly answer a few questions for yourself.

How often do you "step over yourself"?

Where and in what situations does this happen most often?

Why are you doing this? What is your benefit?

Or is it fear? Then what are you afraid of?

What's stopping you from being yourself?

How might your life change if you start letting go of your limitations?

And the last. When will you start getting rid of them?

Stage 3: Refusal to belong to a profession.

Let's look at the process of choosing a profession by a person.

In childhood, the child begins to show some abilities to a greater extent than others. Parents usually begin to make efforts to develop these tendencies. A child draws well - we will send it to an art school, sings well - to a music school, a penchant for technology - to a computer class.

In itself, such a reaction of parents is not bad. talents needed develop. But there is a fine line between development talents of a child for the sake of his future and the desire to have a talented child for the sake of his own vanity or the realization of personal unfulfilled dreams. In addition, all other types creative activities fall out of sight. The child simply does not have enough time for them. Thus, we begin to limit it with our own hands.

Then the parents with the child, and some for the child, begin to choose a university or other professional educational institution. By what principle? Preference is given to the institution where it is easier or more likely to enter. Or where you can get a prestigious, sought-after profession that guarantees a good position in society and a decent salary.

Having received a profession, a person goes to work according to the chosen profile. And even if he changes employers, the profession remains the same. Entering a new job, we plunge headlong into it, trying to carry out assignments with maximum efficiency in order to demonstrate our professional qualities and receive good material rewards in the form of a salary, a high position, etc. We devote a lot of time and energy to improving our skills in the chosen areas.

If we add family concerns to this time, it is clear that we most often do not have enough time for other activities. Maximum for an evening watching TV or partying with friends.

In fact, we drive ourselves into the corridor of our chosen profession and move strictly along it. This gives us the opportunity to achieve maximum material benefits at minimum cost.

And if suddenly a person, due to insurmountable circumstances, has to radically change his kind activities, then it brings suffering, stress, depression, loss self-confidence, etc.

Developing, a person must move away from this system of self-restraint and strive for universality.

There are many examples in history of people with universal knowledge. For example: Leonardo da Vinci was a brilliant mathematician, engineer, artist, possessed rich knowledge in many other branches of culture and science.

Liberation from professional frameworks is an important stage of awakening creativity.

And now the traditional questions.

What kinds creativity did you do as a child?

Why were they chosen?

Whose choice was it? Yours or your parents?

How did you choose your profession? What was determined by your choice?

Have you changed your line of work drastically?

If yes, what caused it? Remember your feelings, emotions. What were they like?

And if not, then what was stopping you?

How ready are you now to make a dramatic change in your profession? Give arguments for and against.

Be honest with yourself: how wide is your professional corridor?

Wake up your sleeping creation, set him free! Remember the feeling of flying more often, regardless of profession and status. Who knows, maybe great discoveries await you ahead?

Creativity is not a singular ability, but complex property human psyche, which includes several components, the most important of which these are:

1. Qualities of the intellect.

fluency of thought (ability to generate a large number of ideas, associations)

Each participant takes turns saying two words. The first word must be in the same category as the second word of the previous participant. The second word is arbitrary. For example: presenter speaks: "Ripe apple" - second participant: "Orange green" - third: "Orange scarf", etc.

Flexibility (variety of generated ideas)

Exercise "INTERPRETATION OF THE PICTURE"

the mountains and the waves of the sea and even the back of the dragon turn out to be a wavy line.

Originality (the ability to find non-obvious, rare, but at the same time adequate ideas).

The maximum expansion of the vision of the problem field, the search for non-obvious solutions.

At the same time, imagination, associative thinking, the ability to recombine are actively involved. (representation of the known in new, unusual combinations) .

Exercise "Think up"

Instruction: Come up with a new use subjects:

sketchbook,

Mixed plasticine

burst balloon,

burnt out light bulb,

Empty rod from the pen.

2. Qualities of personality.

Exercise "Throw the ball"

Those who wish are invited. Participants stand in a tight circle. The optimal number of participants in a circle is from 6 to 8. They are given a small ball (approximately the size of a tennis court) and formulated exercise: Throw this ball to each other as quickly as possible so that it is in the hands of everyone. The facilitator records the time required for this. The task is not difficult, usually it takes about 2 seconds for each participant to complete it for the first time. The exercise is repeated 3-4 times, the leader asks to do it as quickly as possible. When the time has been reduced to about 1 second per participant, the facilitator asks to invent and demonstrate a way in which the ball can be thrown so that it is in the hands of everyone, spending only 1 second for the whole group.

The most important of these qualities is openness to new life experiences. Such a person is ready to accept everything new that appears around, is capable of changing existing ideas, feels comfortable in situations of uncertainty and does not experience anxiety, is bold, inquisitive, playful. Often such people outwardly resemble "big kids". Creativity is poorly compatible with excessive "seriousness", lack of spontaneity, the desire to organize your life according to once and for all established rules. Of course, the above does not negate the importance of the organization of life, the existence of rules and principles, but a creative person, when circumstances change, is ready to revise them, and one who does not possess this quality continues to live. "old fashioned" stubbornly oblivious to the changes that are taking place.

3. Value orientations.

Such a person - The surrounding world is interesting to him in itself, and not only as a means of satisfaction some personal needs. A creative person consciously chooses an active, transformative life position.

There are 7 signs creativity:

Originality,

Fantasy

Heuristic

Definition

Activity

Sensitivity

concentration

9. Parable "Sun beam"

One day a ray said to the sun:

Every day I fly to Earth and warm all living things, but I would like to warm the heart of a person.

Well, you can give a drop of solar fire to the heart of a person, the sun allowed. - This fire will help a person become great creator. Just choose the best of people. The beam came to Earth and thought: “How do you know which person is better?”

Then he heard sad thoughts guy: "I can't do anything. He dreamed of becoming an artist, but became a house painter. I fell in love with a girl, but she does not look at me.

You have talent, youth and skillful hands! - the ray exclaimed and gave the man its fire.

A solar fire flared up in the man's heart and made him raise his eyes and straighten his shoulders. He took paints and drew a beautiful bouquet for his beloved. "It's a miracle!"- the girl was delighted and kissed him. Then the guy painted the house so that the customer came to Delight: “I thought you were a painter, and you are a real artist. My house has become a work of art!” And the guy became a famous artist.

The beam returned to the sun and guiltily said:

I forgot that it was necessary to find the best of people. I gave fire to the first person I met.

You believed in man, - the sun answered joyfully. - And faith and support will turn any person into creator and help overcome any obstacles.

III. Practical part.

I would like to dwell in more detail on a practical example of one of the forms of work on development of creative potential of teachers through the use of psycho-training information and practical classes. Today we will try to actively show creative quality: flexibility of thinking, ingenuity, observation and imagination.

1. Exercise "Arch"

Participants are united in teams, receive A4 paper, and they are given exercise: make an arch from one sheet of such a size that any of the participants or all in turn can pass through it. The arch must consist of a continuous strip of paper, but the use of any fasteners is not allowed, only scissors are at the disposal of the participants. Demonstrate as many ways as possible.

Issues for discussion:

Who at first thought it was impossible to complete the exercise?

How often do such situations occur?

2. Exercise "Composing poetry"

Given a start poem need to come up with an ending (5 minutes to complete):

In the morning the mood is bad, I can’t make up my eyes in any way ...

Together with my husband, we gathered, Suddenly go out somewhere ...

In the spring, puddles are everywhere, In the streams, boats are sailing ...

I decided to lose weight, went on a diet ...

After the shift, I decided to quickly go home ...

I decided to surprise everyone, And cook French soup ...

Parents, often angry and scolding, Lose their spiritual connection with the child ...

Art therapy "Music Drawing". (Teamwork).

The psychologist turns on relaxing music and then suggests teachers depict on a piece of paper, with pencils or paints, those associations that arose in the process of listening.

3. Exercise « creative life»

materials: paper, pencils, pens, felt-tip pens, markers, glue, scissors, drawing paper, newspapers, magazines.

Participants are united in mini-groups of 5 - 6 people, and receive exercise: make a portrait using the collage method creative teacher, identify and record qualities creative teacher. Develop a list of recommendations for "make more creative own life» .

10. Video "Three Exercises for development of the right hemisphere» .

I.Y. Final part

1. Exercise "Sun"

Target: stress relief, allowing you to push boundaries and "refresh" in the bosom of nature, internally gather and gain new strength.

Imagine yourself on the beach at sunrise. The sea is almost still, the last bright stars go out. Feel the freshness and purity of the air. Look at the water, the stars, the dark sky.

For a while, listen to the pre-dawn silence, the stillness saturated with future movement. The darkness is slowly receding and the colors are changing. The sky above the horizon turns red, then turns golden. Then the first rays of the sun touch you. And you see it slowly rising from the water.

When the sun is halfway above the horizon, you see its reflection in the water form a path of golden shimmering light from you to its very center.

The water is warm, pleasant, and you decide to enter it. Slowly, enjoying, you begin to swim in the golden radiance that surrounds you. You feel the contact of the body with water, full of sparkling light. You feel how easy it is for you to sail and enjoy the movement of the sea.

The farther you sail on the sea, the less you become aware of the water around you, and the more it becomes around the world. You feel like you're wrapped up beneficial the light that enters you. Now your body is bathed in life-giving energy of the sun. Your feelings are imbued with her warmth. Your mind is illuminated by its light. You return, at the same time retaining a piece of heat and light.

2. "Postcard to a colleague" (exercise)

keywords given: mind, kindness, beauty, health. Using these words, sign a postcard to a colleague sitting to your left.

3. Exercise "Bag of Wishes"

teacher uses this exercise as a “goodbye” moment. Passing the bag to each other in a circle, the participants take one item out of it. Starting from words: “I wish you”, they come up with a wish, associating it with this object, for example, a glass - “I wish you that this glass for you was always half full than half empty.”

Learning cannot be reduced only to the acquisition of skills and abilities, it is a means to achieve its highest purpose, self-actualization and self-expression in creativity (A. Maslow, 1999).

The task of training is to find such educational material that would involve the student in a specific activity that has a goal in his eyes (of great importance, interest). It is necessary to find typical activities, the results of which are of real interest to the trainees, and which cannot be performed mechanically. A student truly learns only when he realizes the role of the truths being studied in obtaining the results of an activity that is important for him (J. Dewey, 2000).

In ancient India, the process of transferring the personal creative qualities of a teacher was not limited to transferring information to a student. Creativity was associated with a special state of individual consciousness. This state of consciousness is characterized by the inexpressibility of thought in verbal form. As soon as a thought takes on a verbal form, it becomes fixed, stable, goes beyond the limits of individuality, socializes, thereby setting the limit of individual creativity, during which it is only possible to achieve new meaning and knowledge.

There are a number of factors that influence the formation of the creative potential of students:

- self-confidence, in the ability to solve the problem;
- the desire for independence in the choice of goals, objectives and ways to solve them;
- excitation of positive emotions (joy, surprise, experience of success, etc.), stimulating the process of creativity;
- formation of critical thinking and sensitivity to contradictions; a tendency to fantasize and develop the imagination;
- the use of teaching methods that stimulate the installation of independent discovery of new knowledge.

A student is a person with a pure soul, open to the new and the unknown. The task of the teacher is to use and develop methods and technologies aimed at the formation and improvement of creative U and N, the development of creative abilities and, ultimately, the formation of a creatively oriented personality, taking into account the results of diagnosing its individual characteristics.

The formation of creative potential is facilitated by the appropriate organization of the educational process:

- problem-based learning
- Ability to build interdisciplinary relationships
- fostering a creative attitude to the study of disciplines,
- the ability to highlight the main thing and critically comprehend the completed educational material,
- development of students' abilities, skills and abilities of analysis, synthesis, generalization, classification,
- ability to assess practical situations.

The teacher is directly involved in personal development, and in this matter it is important to find the right approach to each person, to choose the right direction. And if art, science and other types of creative activity imply the goal of creating something new and original, then pedagogy remains true to the main and only goal: the maximum development of the individual. Another thing is that this can be achieved by different, including creative methods.

Pedagogical work cannot be, and cannot be, uncreative, because the students, the circumstances, the personality of the teacher himself are unique, and any pedagogical decision must proceed from these always non-standard factors. Pedagogical creativity, representing a special phenomenon, with all the specifics, has much in common with the activities of a scientist, writer, artist.

The development of consciousness and creative parameters of a person went along the path from simple contemplation to a deep knowledge of reality and only then to its creative transformation. This equally applies to the evolution of consciousness and the activity of the teacher. At present, the assertion that pedagogical activity is inherently creative has become trivial. However, it is no less known that just as an employee can introduce an element of creativity into unskilled, traditionally uncreative work, so, conversely, pedagogical activity can be built according to a template, depriving it of its inherent creativity.

Creativity in the activity of a teacher is characterized by different levels. V.A. Kan-Kalik, N.D. Nikandrov (1990) distinguish the following levels of pedagogical creativity:

- level of elementary interaction with the class: The teacher uses feedback, corrects his influences according to its results, but he acts "according to the manual", according to the template, according to the experience of other teachers;
- the level of optimization of activities in the lesson, starting with its planning, when creativity is manifested in the skillful choice and expedient combination of the content, methods and forms of teaching already known to the teacher;
- heuristic, when the teacher uses the creative possibilities of live communication with students;
- the highest level of creativity of the teacher, which is characterized by his complete independence, the use of ready-made techniques, but in which the personal principle is invested, therefore they correspond to his creative individuality, the characteristics of the personality of the pupil, the specific level of development of the class.

It turns out that pedagogical creativity in itself is a process starting from the assimilation of what has already been accumulated (adaptation, reproduction, reproduction of knowledge and experience), to change, transformation of existing experience.

One of the most successful areas used in educational and creative activities is the game direction. It has long been known that the most difficult material is much easier to learn through the game. In his work, the teacher can use:

1. Business games. Students receive certain role functions and attitudes in which they will explore or discuss something. The advantages of such games are the involvement in the discussion of all participants, joint cooperation.
2. Jokes, riddles, Interesting Facts. They help to create a good emotional mood in which the material will be absorbed faster and better.
3. Use of fragments of cones and competitions. In such an atmosphere, students have the highest emotional readiness to solve educational problems.
4. "Brainstorming" - a joint search for a solution to the problem.

At present, the main principles of the pedagogy of Torrens' creativity have been updated:

1. recognition of previously unrecognized or untapped opportunities,
2. respect for the student's desire to work independently,
3. the ability to refrain from interfering in the process of creative activity,
4. providing the student with the freedom to choose the area of application of forces and ways to achieve the goal,
5. individual application of the curriculum depending on the characteristics of the trainees,
6. creating conditions for the specific implementation of ideas,
7. providing opportunities to contribute to the common cause of the group,
8. encouragement of work on projects proposed by the trainees themselves,
9. exclusion of any pressure on the trainees,
10. emphasizing the positive meaning of individual differences,
11. respect for the potential of those who are lagging behind,
12. demonstration of enthusiasm,
13. creating situations in which more successful students work with less successful students,
14. search for possible points of contact between the ideal and the real,
15. approval of the results of students' activities in any area in order to induce a desire to test themselves in other activities,
16. providing authoritative assistance to students who express different opinions, who are under pressure from their peers (S.I. Samygin, L.D. Stolyarenko, 2003).

CREATIVE ACTIVITY OF TEACHERS

E.V. LOMTEV

DEAN FDP NOU "INSTITUTE OF SOCIAL AND EDUCATIONAL MANAGEMENT"

Pedagogical activity, like any other, has not only a quantitative measure, but also qualitative characteristics. The content and organization of pedagogical work can be correctly assessed only by determining the level of the teacher's creative attitude to his activity, which reflects the degree to which he realizes his capabilities in achieving his goals. Therefore, the creative nature of pedagogical activity is its most important objective characteristic. It is due to the fact that the variety of pedagogical situations, their ambiguity require variable approaches to the analysis and solution of the problems arising from them.

It is known that the development of consciousness and creative parameters of a person went along the path from simple contemplation to a deep knowledge of reality and only then to its creative transformation. This equally applies to the evolution of consciousness and the activity of the teacher. At present, the assertion that pedagogical activity is inherently creative has become trivial. However, it is no less known that just as an employee can introduce an element of creativity into unskilled, traditionally uncreative work, so, conversely, pedagogical activity can be built according to a template, depriving it of its creative beginning.

Creativity is an activity that generates something new, not previously existing, based on the reorganization of existing experience and the formation of new combinations of knowledge, skills and abilities. Creativity can have several levels. One level of creativity is characterized by the use of existing knowledge and the expansion of the scope of their application, at another level a completely new approach is created that changes the usual view of an object or area of knowledge. At the same time, it should be borne in mind that creativity as a specific type of human activity, along with "novelty", is also characterized by "progressiveness". This approach to the essence of creativity is consistent with the ideas of humanistic pedagogy, with the development of the individual, the culture of society.

V. I. Andreev, defining creativity as a type of human activity, identifies a number of features that characterize it as a holistic process:

The presence of a situation or a creative task as a problem;

Social and personal significance and progressiveness, which contributes to the development of society and the individual;

The presence of objective (social, material) prerequisites, conditions for creativity;

The presence of subjective prerequisites for creativity (personal qualities - knowledge, skills, positive motivation, creative personality traits);

Novelty and originality of the process or result.

If it is reasonable to exclude at least one of the named signs, then creative activity either will not take place, or cannot be called creative.

Pedagogical activity is a process of constant creativity. But unlike creativity in other areas (science, technology, art), the teacher's creativity does not aim to create a socially valuable new, original, since its product is always the development of the individual. Of course, a creatively working teacher, and even more so an innovator teacher, creates his own pedagogical system, but it is a means to obtain the best result under given conditions.

The innovative teacher is aware that the educational and cognitive activity of students is stimulated not only by interesting educational material and various methods of its presentation, but also by the nature of the relationship that the teacher affirms in the learning process. In an atmosphere of love, goodwill, trust, respect, the student willingly and easily accepts the educational and cognitive task. The student, seeing how his dignity, independent thought, creative search is valued, begins to strive to solve more complex educational problems.

The content of education and upbringing, that is, the basis for organizing the school life of children, is determined mainly regardless of their personal interests and needs. The psychological and didactic task is to ensure that students accept this content, become interested in it, and become interested in educational and cognitive activities. In this case, the possibility of unwanted conflicts will be eliminated, which can manifest themselves (and usually do) in various forms. At the same time, there will be no need for systems of authoritarian pedagogical measures aimed at eliminating these conflicts and contradictions that interfere with the normal functioning of the educational process, at forcing students to do their duty, at restoring order, etc.

It is possible, according to many innovative teachers (including Sh.A. Amonashvili *), to elevate the student to a pedagogically organized environment that will require him to be active in a deliberately planned content, by taking into account the developing needs and potentialities as much as possible.

the student's personality, striving to be independent and self-reliant, through special forms and methods of managing the educational process, helping the student to realize himself as a person and directing him to the self-construction of his inner world.

It is necessary to constantly exercise faith in the possibilities and prospects of each student. The teacher must really believe in the capabilities of each child and consider any deviations in his development primarily as a result of an undifferentiated approach to him. To perceive the student's natural failures as his inability, to react to this condemningly, even with deep sympathy, but without focusing on their obligatory overcoming in the future, is not humane in relation to the student's personality.

The teacher's positive expression of his grief at the student's failure, again, must be based on faith in his future success. It should take the form of encouraging sympathy, which at the same time contains the idea that the teacher worries about the student and is ready to help him. The student must constantly feel that he is considered, his opinion is valued, trusted, and consulted. At the same time, the content of education, in connection with which such an educational environment is organized, should create conditions in order to provide the student with the opportunity to express his opinion, give advice, make assumptions, choose, create.

Academician V. A. Engelgard wrote that creativity in its original source is the result of an innate, physiological need, “the result of some kind of instinct, felt as powerfully as the need for a bird to sing or the desire of a fish to rise against the current of a stormy mountain river.” Indeed, a person in any, even the most, it would swing, work far from creativity, without realizing it himself, introduces elements of creativity.

However, creativity is different. It is due to the creative potential of the individual, which, if we are talking about a teacher, is formed on the basis of his accumulated social experience, psychological, pedagogical and subject knowledge, new ideas, skills and abilities that allow finding and applying original solutions, innovative forms and methods, and thereby improve the performance of their professional functions. On the other hand, experience convinces that creativity comes only then and only to those who are characterized by a value attitude to work, who strive to improve professional qualifications, replenish knowledge and study the experience of both individual teachers and entire teaching teams.

Quite often, the creative nature of the work of a teacher is deduced from the conclusion: pedagogical work is predominantly mental,

and mental means creative. But mental labor cannot be directly identified with creative labor. Without special training, knowledge, which is a reflection of the generalized social experience accumulated by previous generations, pedagogical creativity, except at the level of trial and error, is impossible. Only erudite and having special training the teacher, based on a deep analysis of emerging situations and awareness of the essence of the problem through creative imagination and a thought experiment, is able to find new original ways and means of solving it.

The creative potential of any person, including a teacher, is characterized by a number of personality traits, which are called signs of a creative personality. In this case, different lists of such signs can be given. Among them are: the ability of the individual to notice and formulate alternatives; question the obvious; avoid superficial formulations; the ability to delve into the problem and at the same time break away from reality, to see the future; the ability to refuse orientation to authorities; the ability to see a familiar object from a completely new perspective, in a new context; willingness to abandon theoretical judgments, dividing into black and white, move away from the usual life balance and stability for the sake of uncertainty and search.

Ease of association (the ability to quickly and freely switch thoughts, the ability to evoke images in the mind and create new combinations from them) can also be attributed to the signs of a creative personality; the ability to make value judgments and critical thinking (the ability to choose one of many alternatives before checking it, the ability to transfer decisions); readiness of memory (mastery of a sufficiently large volume of systematized knowledge, orderliness and dynamism of knowledge) and the ability to curtail an operation, generalize and discard the inessential.

It is possible to consider as a creative person the significant characteristic of which is creativity as the ability to turn the performed activity into a creative process. E. S. Gromov and V. A. Molyako* name seven signs of creativity: originality, heuristic, fantasy, activity, concentration, clarity, sensitivity.

Of interest is the typology of the creative personality proposed by V. I. Andreev*, which can also be extended to teachers.

The logical theorist is a type of creative personality, which is characterized by the ability to make broad logical generalizations, to classify and systematize information. People of this type clearly plan their creative work, widely use already

well-known methods of scientific research. This type of creative personality is characterized by great awareness and erudition. Based on already known theoretical concepts, they develop them further. Everything they start is brought to its logical conclusion, backing up their justifications with references to numerous primary sources.

The intuitive theorist is characterized by a highly developed ability to generate new, original ideas; people of this type of creative abilities are major inventors, creators of new scientific concepts, schools and trends. They are not afraid to oppose their ideas to generally accepted ones, they have exceptional imagination and imagination.

The practitioner-experimenter always seeks to test his new original hypotheses experimentally. People of this type love and know how to work with equipment, they always have a great interest and ability to do practical things.

The organizer as a type of creative personality has a high level of development of the ability to organize others, the team to develop and implement new ideas. Under the guidance of such people, original scientific schools and creative teams are being created. People of this type are distinguished by high energy, sociability, the ability to subjugate others to their will and direct them to solve great creative problems.

The initiator is characterized by initiative, energy, especially at the initial stages of solving new creative problems. But, as a rule, they quickly cool down or switch to other creative tasks.

Creative activity of a teacher, according to V. V. Kraevsky**, is carried out in two main forms: the use of known means in new combinations to pedagogical situations that arise in the educational process and the development of new means in relation to situations similar to those with which the teacher has already dealt previously. At its first stage, the creative pedagogical process is the establishment of new connections and combinations of previously known concepts and phenomena and can be implemented on the basis of a special methodology. The optimal ways of its implementation can be determined by means of an algorithm or with the help of a heuristic system of rules, following which it is easier to find a solution. Instructions for pedagogical activity, the norms of this activity are the necessary scientifically based guidance for the teacher in his work. The fulfillment of these prescriptions (if they are accepted precisely as a guide, and not as a dogma) opens up scope for the teacher to truly creative work.

The area of manifestation of pedagogical creativity is determined by the structure of pedagogical activity and covers all of it.

sides: constructive, organizational, communicative and gnostic. However, for the implementation of creativity in pedagogical activity, a number of conditions are necessary (N.V. Kuzmina, V.A. Kan-Kalik):

Temporal compaction of creativity, when there are no long periods of time between tasks and methods for their resolution;

The conjugation of the creativity of the teacher with the creativity of students and other teachers;

Delayed results and the need to predict them;

Atmosphere of public speaking;

The need for constant correlation of standard pedagogical techniques and atypical situations.

In modern literature, pedagogical creativity is understood as a process of solving pedagogical problems in changing circumstances. Turning to the solution of many typical and non-standard tasks, the teacher, like any researcher, builds his activity in accordance with the heuristic search algorithm, which involves the analysis of the pedagogical situation, designing the result in accordance with the initial data, analyzing the available tools necessary to test the assumption and achieving the desired result, evaluating the data obtained, formulating new tasks.

Consequently, the experience of creative pedagogical activity - the emergence of an idea, its elaboration and transformation into an idea (hypothesis), the discovery of a way to implement an idea and an idea - is acquired under the condition of systematic exercises in solving specially selected tasks that reflect pedagogical reality, and organizing both educational and real professionally-oriented activities of future teachers.

However, the creative nature of pedagogical activity cannot be reduced only to solving pedagogical problems, because cognitive, emotional-volitional and motivational-need components of the personality are manifested in unity in creative activity. However, the solution of specially selected tasks aimed at the development of certain structural components creative thinking(goal-setting; analysis that requires overcoming barriers, attitudes, stereotypes; enumeration of options, classification and evaluation, etc.) is the most important condition for the development of the creative potential of the teacher's personality.

The classification of tasks that are adequate to the formation of such a potential of the individual, it is advisable to carry out, highlighting the most striking features of creative activity. These can be tasks for transferring knowledge and skills to a new situation; to identify new problems in familiar (typical) situations; allocation of new

functions of methods and techniques; to combine new methods of activity from known ones, etc. This will also be facilitated by exercises in the analysis of pedagogical facts and phenomena, decomposing them into components, identifying rational foundations certain decisions and recommendations.

Often the sphere of manifestation of the teacher's creativity is involuntarily narrowed, reducing it to a non-standard, original solution of pedagogical problems. Meanwhile, the teacher's creativity is no less manifested in solving communicative problems, which act as a kind of background and basis for pedagogical activity. V. A. Kan-Kalik, highlighting, along with the logical and pedagogical aspect of the teacher’s creative activity, the subjective-emotional one, notes the presence of communicative creativity in the teacher’s activity (search and finding new communicative tasks, new means of mobilizing interpersonal interaction of students in the classroom, creating new forms of communication in group work of students, etc.) In the sphere of personality, pedagogical creativity manifests itself as a self-realization of a teacher on the basis of self-awareness as a creative individuality, as the definition of individual ways of one's professional growth and the construction of a self-improvement program.

Creativity in the activity of a teacher is characterized by different levels. V.A. Kan-Kalik, N.D. Nikandrov distinguishes the following levels of pedagogical creativity:

Level of elementary interaction with the class: The teacher uses feedback, corrects his influences based on its results, but he acts “according to the manual”, according to the template, according to the experience of other teachers;

The level of optimization of activities in the lesson, starting with its planning, when creativity is manifested in the skillful choice and expedient combination of the content, methods and forms of teaching already known to the teacher;

Heuristic, when the teacher uses the creative possibilities of live communication with students;

Highest level creativity of the teacher, which is characterized by his complete independence, the use of ready-made techniques, but in which a personal principle is invested, therefore they correspond to his creative individuality, the characteristics of the personality of the pupil, the specific level of development of the class.

These levels can be conditionally called as the levels of reproducing ready-made recommendations, optimization, heuristic, personal-independent.

So, pedagogical creativity in itself is a process starting from the assimilation of what has already been accumulated (adaptation, reproduction, reproduction of knowledge and experience), to

change, transformation of existing experience. The path from adaptation to the pedagogical situation to its transformation is the essence of the dynamics of the teacher's creativity (A. K. Markova*). In connection with the level characteristics of pedagogical creativity, the question arises about the creativity of young teachers who do not have sufficient social and professional experience. The answers of beginners and future teachers, in contrast to teachers with some experience, are overwhelmingly unambiguous: only a young teacher who is not burdened with someone else's experience can create. Characteristically, pedagogical creativity in this case is often identified with the path of trial and error. Nevertheless, the statement of young teachers is not without foundation, although it reflects youthful maximalism. This question, in turn, raises another: what is the ratio of pedagogical experience and creativity, pedagogical creativity and skill?

Pedagogical experience can be massive and advanced Mass pedagogical experience is a typical experience of the work of an educational institution and an individual teacher, which characterizes the achieved level of teaching practice, education and implementation of the achievements of pedagogical science in it. The words "advanced pedagogical experience" are used in a broad and narrow sense (M.N. Skatkin). In a broad sense, best practice refers to the high skill of a teacher. Although his experience may not contain anything new or original, he is a model for teachers who have not yet mastered the teaching skill. In this sense, what the master teacher has achieved is an experience worthy of dissemination.

Best practice in a narrower and stricter sense refers only to such a practice that contains elements of creative search, novelty, originality, what is otherwise called innovation. Such pedagogical experience is especially valuable because it opens up new ways in educational practice and pedagogical science.

It is often difficult to draw a line between simple pedagogical skill and innovators, because, having mastered the known principles and methods, the teacher usually does not stop there. Finding and using more and more original techniques or in a new way, effectively combining the old ones, the teacher-master gradually becomes a real innovator. Pedagogical innovation is a condition for the development of education, since it introduces various kinds of innovations into it. The latter are expressed in the trends of accumulation and modification of various initiatives and innovations in the educational space. Their consequence can be both partial transformations in the content of education and pedagogical technologies, and global changes in the field of education.

M. M. Knyazeva notes that pedagogical innovations are such actual significant and systemically self-organizing neoplasms that arise on the basis of various initiatives and innovations that become perfect for the evolution of education and positively influence development. The development of the innovation process in education involves:

Creating a creative atmosphere in educational institutions, cultivating interest in the pedagogical community for initiatives and innovations;

Creation of socio-cultural and material (economic) conditions for the adoption and operation of various innovations;

Pilot initiation educational institutions and mechanisms for their comprehensive support;

Integration of the most promising innovations of productive projects into actual educational systems and transfer of accumulated innovations into the mode of permanent experimental educational institutions.

The teacher does not correlate his creative process with the activities of students, he creates for himself and from himself;

The teacher correlates his creativity with the activities of the class, manages the overall creative process;

The teacher takes into account the nuances of the activities of individual students;

The teacher creates the general concept of the lesson, takes into account

characteristics of individual students, provides them with

individual approach.

So, pedagogical skill is the activity of a teacher at the level of samples and standards worked out in practice and already described in methodological developments and recommendations. The skill of a teacher is not directly related to the experience of his work. Unlike mastery, pedagogical creativity, as A. K. Markova notes, is always a search and finding of a new one: either for oneself (discovery by the teacher of variable non-standard ways of solving pedagogical problems), or for oneself and for others (creation of new original approaches to individual techniques, restructuring the well-known pedagogical experience). Each teacher continues the work of his predecessors, the teacher-creator sees wider and much further. Each teacher, one way or another, transforms the pedagogical reality, but only the teacher-creator actively fights for cardinal transformations, and he himself is a good example in this matter.

* Gromkova M. On the pedagogical training of a teacher of higher education. -Higher education in Russia. - 1994, No. 4.

* Markova A.K. Psychology of teacher's work. - M., 1993.

* Andreev V.I. Manager's self-development. - M., 1995.

Martsinkovskaya T.D. History of psychology: tutorial for stud. higher establishments. - M.: publishing center "Academy", 2001

* Amonashvili Sh.A. Culture of pedagogical communication. M., 1990.