The essence of the concept «creativity», ways and facilities of development of the future primary school teacher in his professional activity are examined in the article. The main approaches to study the concept of creativity are analyzed, that in scientific literature is considered as an ability of a person to create from present material of reality on the basis of cognition of conformities of objective world a new reality that answers various public and personal demands and has a progressive character. It is decided that the basis of self perfection is the phenomenon «creativity» as the main method of forming professionalism, mastery and realization of creative potential of the personality. Creativity is a major method of ascent of a person to individuality, realization of its creative potential. It is proved that a great role in development of creative potential belongs to the subject – the future teacher of primary school. The basic problems of preparation of the future primary school teacher are scientifically argued in the article. An important for pedagogical practice is a decision of problem of creative self perfection of a future specialist of primary school, research of structure, basic indexes and optimal terms of forming of important professional traits, enriching maintenance, forms and methods of professional preparation that provide its forming. It is concluded that the development of creativity is associated with structural and functional updating the activity, turning it into something new, more sophisticated, identified in the new results. The uniqueness of the role of the creative personality of the teacher is based on the fact that such teacher has the potential to generate creative personality of the pupil, to help him be creative, develop inclinations and abilities. The key of the development of the creativity of the future primary school teachers is the process of changing pedagogical activity, which is to update the target systems and procedures for solving problems of training and education of future specialists. Implementation of the above mentioned approach in the system of improvement of professional skills of the personality makes possible the development of the creative potential of professional consciousness, reflection and self-improvement that contribute to the formation of new thinking, perception and development of the creative potential of the future primary school teachers.
This article is focused on the implementation of preschool children’s program for the development of ‘STREAM Education or Path to the Universe’. Different possibilities for educating a creative personality are revealed through the project research. In this article the authors’ program called ‘The Fixies’, a project-research activity for kids aged 4 to 5, is presented. The authors describe the experience of using this programme in the Chernihiv branch of Unikum Academy, the Institute of the Gifted Child National Academy of Pedagogical Sciences of Ukraine and in Chernihiv 42 kindergarten. The experience gained while organizinga STREAM laboratory, which provided opportunities to use the project-research activity in the kindergarten, is described in this article.
PL
This article is focused on the implementation of preschool children’s program for the development of ‘STREAM Education or Path to the Universe’. Different possibilities for educating a creative personality are revealed through the project research. In this article the authors’ program called ‘The Fixies’, a project-research activity for kids aged 4 to 5, is presented. The authors describe the experience of using this programme in the Chernihiv branch of Unikum Academy, the Institute of the Gifted Child National Academy of Pedagogical Sciences of Ukraine and in Chernihiv 42 kindergarten. The experience gained while organizing a STREAM laboratory, which provided opportunities to use the project-research activity in the kindergarten, is described in this article.
The article is dedicated to the problem of interpretation of personality’s creative potential in the context of its investigation in the scientific pedagogical heritage. The article presents the results of the research of major approaches to the definition of the essence of personality’s creative potential in scientific literature. The correlation between creative potential and such concepts as «personality», «creativity», and «creative personality» has been characterized. Philosophical, psychological and pedagogical approaches to the definition of a personality and creativity in the context of creative potential formation have been described in the article. The interrelation between these approaches has been defined by means of the concept of «creative personality», which was stated as a personality capable of implementing own creative potential with the help of creative activity. It has been found out in the process of the research that the definition of essence of the potential is complicated by the varied system of interrelated characteristics: knowledge, skills, activity, creative abilities, motives, etc. In consequence of scientific sources analysis major statements, which determine the concept of «creative potential», have been distinguished and their interconnection has been defined. Creativity and motivation as an orientation towards creative activity has been determined as a psychological basis for personality’s creative potential, and creative potential has been defined as a precondition for creative activity. On the basis of the analysis of scientific approaches to the definition of the concept «creative potential of a personality» it has been specified as an integrated system trait of a personality, which includes knowledge, skills, and psychic qualities of a personality. Among them creativity, motivation, orientation towards creative activity are the basic ones. These qualities, if they are highly developed and interconnected, stimulate a person to the active professional and creative change of an individual and to the change of the environment. The definition of the creative potential gives the possibilities for further justification of its structure and for the development of a set of active forms and methods of its formation. Prospects for further research in the context of the problem is the justification of the structure of the creative potential of an individual, and determining the set of active forms and methods of its formation.
The article reveals the role of higher education in preparing active in the profession of the individual, free to choose, responsible and mobile in today’s conditions. We have defined the purpose of the article: to outline the ways in order to optimize teacher’s creativity of philologist-ukrainoznavets that it can be successfully implemented in the educational activity in secondary school. The teacher’s professional development is considered as an important component of creative potential, based on a system of cultural, psychological and pedagogical ways of life. It is indicated that the teacher acts a defining figure in the educational process of modern secondary school. The level of self-efficacy depends on its creative potential in the future level of education, upbringing, and creative young representatives of the Ukrainian nation. It is also specified that only the national conscious and active creative teacher can educate a creative individual student and send it to constant improvement. This article describes an innovative technology of training future philologists and Ukrainian scientist who is being promoted in the educational process in Uman State Pedagogical University named after Pavlo Tychyna. It is emphasized that the basis of the above technology is the development of creative potential of future teachers. The author has outlined the requirements for the teachers in the establishment of it as a highly spiritual and creative personality. The article highlights the most important of these conditions: a teacher-philologist and ukrainoznavets should be a true patriot, an active and creative man, preserve and continue the Ukrainian cultural and historical traditions. The pedagogical conditions of effective preparation of future teachers of philology to professional activities are defined. As a result of experimental verification has revealed that the effectiveness of training future teachers of philology increases significantly upon the development of the students’ creative skills of Ukrainian studies at school. Further research requires innovative methods of training teachers and philologists aimed at disclosing their creativity and talent.
In the article the problem of the creativity as an important ability to create something new is considered. Based on the analysis of psychological and pedagogical sources, scientific literature and personal experience, an analysis of the concept of “creativity” is carried out. Many approaches to the study of this phenomenon have been studied. The relevance of this topic is noted. Today, education requires professional and creative professionals capable of creative work with schoolchildren and preschool children. This concept is considered by modern foreign and native scientists. An analysis of the literature suggests that this problem acquired the greatest urgency in the twenty-first century. The article describes creativity as an individual’s quality, aimed at creating new solutions, original ideas, creating a new, original product of social importance. It is noted that creativity is divided into intellectual and social and their features are revealed. The opinion of scientists who attribute creativity to the main features of the individual is supported. The content of the concepts of creative personality and creative education is considered. It gives its own definition of what a creative person should be. It is determined that creative abilities are a constituent of creativity of the future teachers of musical art. Creativity is defined as the structure of the personality, which is characterized by the identity and integrity of the totality of such personal qualities as: creative potential, creative activity, creative orientation, creative individuality, initiative, improvisation. Analysis of the literature under study in accordance with the study of creativity helps in creating their own definition of creativity. The author concludes that creativity has many approaches, but the main thing is the desire of the individual to create something, and the creativity of the future teachers of musical art is a creative individuality, a desire to stand out thanks to music. Consequently, the concept of “creativity” has many approaches, but the main thing is the desire of the individual to create something. The use of theoretical materials in the educational process will help to increase interest of the future teachers of musical art in creativity. A promising direction for further scientific research is the creation of methodological recommendations for the development of creativity of the future teachers of musical art.
The contribution gives a review of the research findings mapping (survey) the pupils’ creativity level. It provides information about education in alternative schools: Montessori, Waldorf and the Integrated Thematic Instruction (ITI), where the research was realised. The Torrance test (TTCT) and Urban test (TSD-Z) were used for the identification of pupils’ creativity. The procreative tendency of the teachers was examined by the Self-Rating Scale of the Creatively Oriented Personality (SRSCP). The comparison of pupils’ and teachers’ results from standard and alternative schools brought diverse results. Our findings regarding the creativity level of pupils attending the second grade of Montessori and Waldorf schools (N=50) in comparison with the children in standard schools suggest no significant differences. The pupils of the alternative classes of ITI (N= 206) achieved significantly higher scores of originality than those of standard schools (N=194). A link between the teachers’ creative orientation and their pupils’ creativity has not been found.
Artykuł prezentuje model teoretyczny kształtowania twórczej osobowości przyszłego nauczyciela podczas kształcenia ogólnopedagogicznego dzięki połączeniu trzech komponentów o podporządkowaniu hierarchicznym: docelowego, treściowego i procesowego. W strukturze komponentu docelowego wydziela się cele strategiczne, taktyczne, operacyjne i osobowościowe studenta, specjalisty. Komponent treściowy opisany jest w kontekście jego funkcji, wiedzy ogólnopedagogicznej, umiejętności pedagogicznych; pokazany jest potencjał dyscyplin pedagogicznych wykładanych na uczelni wyższej, praktyki pedagogicznej, działalności szkoleniowej i naukowo-badawczej studentów, zapewniający kształtowanie twórczej osobowości przyszłego nauczyciela. Komponent procesowy przedstawiony jest w całokształcie zasad, etapów tworzenia i warunków dydaktycznych kształtowania twórczej osobowości przyszłego nauczyciela.
EN
The article presents a theoretical model of the future teacher’s creative personality formation in the process of general pedagogical training in the interconnection of its three hierarchically subordinated components: target, content and process ones. The target component structure includes strategical, tactical, operative and personal targets of a student, a future specialist. The content component is presented in the context of its functions, general pedagogical knowledge, pedagogical skills; it’s also shown the potential of pedagogical disciplines studied at university, pedagogical practical training, study and research activity, all the factors that ensure future teacher’s creative personality formation. The process component is represented as a set of principles, formation stages and didactical conditions of the future teacher’s creative personality formation.
Research of modern educational criteria of training future teachers of music requires further study of the problem of artistic creativity as a growth factor and condition of competitiveness of the future specialists’ pedagogical skills. Being a complex technology artistic creativity integrates various forms of education and training and is closely associated with various kinds of art with its stylistic characteristics, traditions and culture, which the future teacher of music should acquire. So, the sharp issue is to improve the organization of educational process in pedagogical college due to the principles of regularity, consistency and availability. According to the specific character of musical and pedagogical readiness of the students of higher education institutions the necessity of carrying out the research on the basis of theoretical psychological and educational aspects has been arisen. In the context of scientific studies of cognitive research and creativity of the future specialists of art disciplines as the main factor of professional training depends on cognitive activity and creativity oriented the mastering of scientific and professional knowledge and special skills as well. Mastering the profession and further advancing of professional skills of the future teachers claim professional competence in the field of art that combines creative literacy, creativity and skills. There is a theoretical analysis of the problem of readiness formation of the future music teachers in this article that involves the significance of the concepts of “readiness”, “training”, “individual creative potential”, “artistic creativity”. The fundamental content of the artistic creativity of the future experts of creative sphere is the process and the result of images development and creative writing, work in creative classes, studios, participation in concerts, competitions, writing scenarios, preparation of performances and shows. Involvement of different kinds of art is a tremendous way of influence on the formation and development of the aesthetic personality of the future specialist, who must satisfy certain professional demands and criteria of artistic excellence is the principle for the qualities which are necessary for performing modern training educational requirements.
W formule „płynnej nowoczesności”, jaką zwykło się opatrywać dzisiejszą kulturę, pamięć o przeszłości nie jest kategorią hołubioną. Inną postawę w tej kwestii deklarują twórcy tzw. re/miksu, formy zakładającej poszukiwanie w historii legendarnych biografii czy zjawisk artystycznych, z którymi młodzi artyści mogliby konfrontować własne programy i opinie. Bohaterką jednego z takich projektów, autorstwa Weroniki Szczawińskiej, stała się Lidia Zamkow, rzadko dziś przywoływana w dyskursie pokoleniowym wybitna reżyserka II połowy XX wieku. Trudność sprostania podjętemu zadaniu dotarcia do prawdy o tej bogatej i niezwykłej osobowości zapowiadał już tytuł re/miksu: 2 albo 3 rzeczy, które o niej wiem. W obliczu sugerowanego braku dokumentacji spektakl złożono z domysłów, hipotez i oczekiwań wobec reżyserki, odwołując się do widowisk w jej twórczości peryferyjnych, których wybór zdeterminowało założenie wstępne. Realizatorzy szukali w osobie Zamkow prekursorki sztuki feministycznej i postaw genderowych, a rozczarowani nieodnalezieniem spodziewanej wartości, ukuli tezę o „artystycznej mierności” bohaterki „fantazmatu”… Trudno o osąd bardziej krzywdzący. Przedstawienia niepokornej interpretatorki dramatu współczesnego (m.in. Indyk Mrożka – 1961, Brechtowska Matka Courage – 1962 i Opera za 3 grosze – 1965, Kaligula Camus’a – 1963) wstrząsały i przykuwały uwagę widzów. O jej interpretacjach klasyki (Makbecie – 1966, Królu Edypie – 1968, Weselu 1969) pisano niejednokrotnie, że przejdą do historii teatru. Drapieżna, a zarazem poetycka estetyka Zamkow budziła entuzjazm, ale też prowokowała do polemik. Drażniła tradycjonalistów, przerażała oportunistów. „Krakowskie Na dnie (1960) w sposób niejako kliniczny o b n a ż y ł o s ł a b o - ś c i n a s z e j k r y t y k i” – stwierdzał wprost Marian Sienkiewicz, autor artykułu o szczególnie przez siebie cenionym rosyjskim nurcie twórczości artystki (w którym wryły się w pamięć zwłaszcza Sen Dostojewskiego, Zmartwychwstanie Tołstoja czy Cichy Don Szołochowa). Reżyserka; permanentnie wywoływała burzę, zrywając np. z tradycją inscenizacyjną Brechta i Dürenmatta (jego Wizytę starszej pani ukazała w konwencji okrutnej bajki). Tragedie i komedie Szekspira odczytywała z perspektywy bliskiej myśli Jana Kotta, nadając im współczesny kształt teatralny. W Ameryce Kafki (1968) zdemistyfikowała dwie utopie ziemi obiecanej: amerykańskiego dobrobytu i „komunijnej wspólnoty wydziedziczonych”, efektownie wykorzystując w ruchowej organizacji części scen poetykę niemego filmu. Wierna swojej koncepcji teatru nie poddawała się dyktatowi elit: zaciekłe ataki na nią za sposób wykreowania w Weselu Widm były w istocie sporem o nowy język teatralny, w którym zaskakująca i wieloaspektowa metafora zastąpiła sceniczny stereotyp. To, że dotąd nie opisano fenomenu artystki, nie świadczy więc o jej „miernej wartości” (co niesprawiedliwie i błędnie sugerowali re/mixowi dekonstruktorzy) lecz o braku gotowości do podjęcia przez krytykę wyzwania, jakim jest ogarnięcie bogactwa i skomplikowania osobowości twórczej Zamkow.
EN
In the convention of “liquid modernity”, as the present culture is commonly named, memory of the past is not an overly favoured category. A different attitude is displayed by the creators of the so-called RE//MIX: a framework that assumes searching the past for legendary biographies or artistic phenomena with which young artists could confront their own views and agendas. The leading character in one of such projects (run by Weronika Szczawińska) is Lidia Zamkow, a great theatrical director of the second half of the 20th century, rarely recalled in the inter-generational discourse nowadays. Even the title of this RE//MIX – 2 or 3 things I know about her – foreshadows the difficulties in completing the mission, which is discovering the truth about this complex, extraordinary personality. In view of the implied lack of documentation, the performance has been put together from conjectures, hypotheses and expectations of the director, and references have been made to plays which were peripheral in her work, the choice of which was determined by the initial assumption of the project. The authors of the performance picked Zamkow, searching for a forerunner of feminist art and Gender attitudes. Disappointed, because they did not find what they had expected, they formed the thesis of “artistic mediocrity” of the heroine of a “phantasm”… It is a most unjust opinion. The shows staged by the defiant interpreter of the modern theatrical drama (e.g. Mrożek’s Turkey in 1961, Brecht’s Mother Courage in 1962, Brecht’s The Threepenny Opera in 1965, Camus’ Caligula in 1963) shocked the spectators and grabbed their attention. Her interpretations of the classics (Macbeth in 1966, Oedipus the King in 1968, The Wedding in 1969) were often written about, and were expected to enter the history of theatre. Zamkow’s ferocious, but also poetic aesthetics evoked enthusiasm and provoked polemical disputes. She annoyed the traditionalists and scared the opportunists. ”The Lower Depths staged in Krakow (1960) almost clinically reveals the weaknesses of our critical work”, stated openly Marian Sienkiewicz in his article on the Russian current (his favourite) in Zamkow’s work (especially memorable creations are Dostoevsky’s Uncle’s Dream, Tolstoy’s Resurrection, and Sholokhov’s Quietly Flows the Don). The director continually evoked controversy by breaking up with the traditional rules of staging Brecht and Dürenmatt (she showed The Visit in the convention of a cruel fairy-tale). She interpreted Shakespeare’s tragedies and comedies from the perspective of Jan Kott’s thought, giving the staging a modern theatrical shape. In Kafka’s Amerika (1968) she demystified two utopias of the promised land: the American prosperity and the “community of the dispossessed” (Ameryka, in ”Tygodnik Powszechny” 1968, no. 39), effectively applying the poetics of silent movies to the organization of stage movement in some scenes. True to her concept of the theatre, she did not yield to the dictate of the elites. The fierce attacks on her creation of the Apparitions in The Wedding were in fact voices in a debate on the new language of the theatre, in which an unpredictable, multifaceted metaphor replaces stage stereotypes. The fact that this artist’s phenomenon has not been examined yet does not prove her “mediocrity” (which was unjustly and wrongly suggested by the RE//MIX deconstructors), but rather implies that the critics are not yet ready to accept the challenge to comprehend the productivity and complexity of Zamkow’s artistic personality.
The main theme of the reviewed work is an attempt to define the concept of active universa-lism of the creative personality based on the available literature in the field of many sciences, its characteristics in the confrontation with the achievements mainly in the field of psycho-logy, historically oriented culturology and musicology. The most important issue is to pre-sent the richness of Ukrainian musical culture, ranging from representatives of its national canon (Mykola Lysenko) to contemporary composers, most of whom are attention was paid to Oleksandr Kozarenko.
The present poses unique challenges in education, but most importantly to form a new man, educated, competent, a patriot, a specialist in the chosen sphere. We completely agree with thee scientist V. Hnatyuk who claims that «to educate a citizen, a patriot, a humanist means to prepare the younger person to participate in solving urgent problems and future state». Modern school should complete this mission, because in spite of age, social and political changes the teacher’s role in forming the personality remains unchangeable. The paper reveals the essence of the most important and interrelated components that define the individuality of a teacher. The individuality component as a system of personally and professionally meaningful relationships and properties of a teacher’s individuality are generic features of an individual, revealing his attitude to the world and world’s treatment of him. These characteristics are being constantly improved by him. The scientists argue that individuality of a teacher is determined by social significance, obtained by him due to his work, professional skills, individual qualities, performance results, he is focused on spirituality – goodness, justice, freedom, love, faith, hope, dignity that constitute the principles of his professional activity and his whole life. The subjective component defines the level of self-determination and the method of self-realization of a teacher in the professionally meaningful environment. The teacher’s subjectivity is a social reality, a way of existence, life creativity that carries responsibility for the students’, the colleagues’ and country's destinies, for its own destiny and is based on the real basis of its internal forces. Individuality is an inimitable identity of a teacher, a set of inherent only to him special qualities, it manifests itself in his temperament features, character, interests specificity, in the peculiarities of activity and creativity. The teacher’s formation is a complex and long process of his self-determination, separation from the general to the universal, conversion into uniqueness and originality. For the teacher it means that only individuality can become a master of his craft. The specifics of the individuality of a teacher lies in the fact that this process is the development of a human person. The most significant characteristics of individuality is the creation of a new teacher based on the desire to feel and express their creative nature, the unique features of his personality, originality of pedagogical style, professionalism and desire to become a modern and well-known teacher.
The content of this paper compares the biographies and creative achievements of Dmitri Shostakovich and Benjamin Britten. The comparison of their lives reveals similarities as far as their innate abilities are concerned, as well as obvious differences resulting from distinct educational paths and living conditions. The observations made in the essay testify to the importance and influence of family ties and strict musical education upon their lives.
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